Grief and Healing IKK Xe MUS pear Beta ‘Senior Project Research + Programming 2010-2011 eee en ee ary ii ieTable of Contents Wi SLLLOLILLALLLLLLLALALALDA LLL LALA LS LDS Research Abstract Research Documentation CLL SS SALAS SAAS ASS SASS SSA SSSA SAS SASS ESS Programming Planning and Zoning Regulations Building Code Research Program Description Program Space Summary Program Data Sheets Resource Allocation CLIS LA ELEISLIA ISLA LES LAP IAI SI LIEV I ILLS SS Design ‘Site Assessment and Analysis Schematic Design Project Design SLSLSOALLL AAS ASSSLSSS SASS SSA LAS ASSESS Supplemental Appendix Works CitedAbstract Research Documentation UMMM Eb bo UMMM MMI -ath iso universal phenomenon. It’s existence is one of the defining charac- teristics of what it means to live, yet dialog on the matter is often avoided. However, as cemeteries are filling up, land is at @ premium, and the largest generation in American history is approaching, now is the time to address the subject. | propose the investigation of crematoriums as a possible solu- tion to these arising infrastructural issues. However, | seek to also examine the implications of cremation and its built form on the idea of the sacred cand the phenomenal. Such a program provides a unique opportunity for architecture to consol the bereaved. 1 Established Need ‘The notion is ageing. As the Baby Boomer Generation reaches retirement end beyond, new infrastructural problems will be revealed. The need for both health and living focilties for them to accommodate will expand greatly. Increased life spans provided by modern medicine ensure that they “will remain sizable population in the United States for the next 40 years. However, cnother infrastructural issue related to passing on. From this stems two importont approaches to dealing with interment. The first is the technical requirements for handling all that pass on. There are considerable space and resource requirements both in the preparation for funeral rites, and in their permanent containment. It is unclear what the how much increase capacity existing funerary facilities can handle as the de- mand for their services rises. As land resources become scarcer, especially in Los Angeles, the amount of land need to contain these bodies will be ex- ‘orbitant. The other issve ot stake is mental wellbeing of thase who remain, ‘morning their lost ones. This is potentially Far more significant, and the often less considered of the two approaches. The need to help those people rein- tegrate back into normal life, and not be caught up ina confused stream of ‘emotions is vital to their lives. What is desired from this project is an under- stonding of what role architecture can play in these conditions. 2 Social Symbolism ‘The funeral process has o profound impact on the grieving pracess people ‘endure after the passing of another. During this time people are filled with © variety of emotions, including love, hote, disappeintment, relief, shame, guilt, and gratitude. This jumble of emotions results in o sense of confusion. ‘This confusion is also @ result of an encounter with the unknown. Death is a mystifying fect, and upon encountering it the “presence of holiness involves © suspension of ordinary activities and normal ttitudes."{Grainger 55) In his studies, Roger Grainger has found that the people who ore the most comfortable with confronting the issue of death are those who are either religious, or those who explicitly have no faith. Those who have no firm convictions on way or the other are the ones who are most uncertain of the phenomenon, and prefer to avoid the subject. They may even become vio- lent upon its discussion. To deal with the process of recovering from the loss of a fellow human, peo- ple have developed ritvals. While the various methods of expressing this interaction with the dead may vary from culture to culture, “the impulse to send them in the right way is characteristic of the human species.” (Grainger7) Grainger continues by saying that these rituals are beginning stages of reintegrating and accepting what hos happened. The reflections of Catholic clergyman Rodney J. Copp provides useful in- sight into the social situation of funerals. When reflecting on one of his first funeral homilies, one that was intensely personal to him, he recounts the incredible mix of emotions felt in the room simultaneously: anger, guilt, sod- ness, confusion, and memories. The pegple drown together were o unique blend: classmates, family, hospital attendants, old friends. Yet despite all the differences and varying opinions of the congregation, there was ¢ unity They were all there for one purpose, to remember the one they knew and loved. Funerals posses the ability to draw together people who would oth- erwise never intermingle, ond unite them for a moment in time. This means that the architecture that houses this rite has @ unique potential to enhance cand speak into this uncommon moment of unity. Greif can have deep impacts upon people. Defined, “Greif is o natural response to any loss.” (Manning 11) Many social ill can be attributed to grief, such as divorce and alccholism. This is why it is important that people are allowed to experience the emotion. To repress it could cause years of ‘emotional and physical damage, though it is sometimes difficult to uncover the source of these feelings. Doug Manning has written that of all the fu- nerals he has conducted the one he feels was the most successful was the ‘one where he said all most nothing. The wake consisted of people from the audience sharing their stories about the man. This sharing is « form of unity, which we concluded above is essential connection needed during the Funer- ary process. Again, we as architects must seek to promote this interaction between people, this sharing that promotes unity and heating in the midst human strife. Itis much more imperative than any formal gesture. Author Marilyn Yalom has discovered a trend of people moving to o more personal approach to handling the issue of death. Historically the rituals associated with dying have been aimed ot distancing the deceased from the living, but we are moving to a more progressive time. The advent of hos- pices, life celebrations and unique grave markers shows « new approach to the subject, one that has not really been token advantage of by architects so much as by landscape architects. 3 Earth Burial to Cremation Earth burial is the oldest form of handing human remains. History has docu- mented people being buried in every position, form laying down to sitting and standing. The remains may be placed in caves, vaults, or the ground. In the times of hunter gathers burial grounds were considered sacred, and villages were often developed alongside them. Today, cemeteries are typi- cally planned along the outskirts of cities, where land is less expensive. Over time, these places are often enveloped as cities expand Most people who are buried are protected from the soil by ot least on barrier. In olden days, this may have been just a sheet. Loter, wood coffins were used, but these would disintegrate over time. In the nineteenth century new coffins were advertised as being fit for “presentation, preservation, cond protection of the corpse.”(Quigley 84)These caskets may now boarder on the absurd. People have been buried in near full functioning automobiles, cand in coffins made of chocolate. Forest Lawn Memorial Park in Los Angeles offers cir conditioning and music in some of its vaults, as well as earthquake proof options. One interesting practice reloted to eorth burials is thet of grave leasing. In Victorion England cemeteries used to be dug up and any remains burned, cond then reused again. While this seems insensitive, it is due to a great shortage of burial space in many urbon centers. The practice of grave leas- ing Is the more formally contracted version of this phenomenon. In Berlin, interment spots may be occupied for 50 yeors. In Denmark these spaces are sometimes recycled as quickly as every 15 yeors. In the better cemeteries of Londen there ore 99 year contracts available. The reason that these practices exist is the incredible land shortage faced in mony urban creas. It is estimated that the cemeteries of America will reach copadity by the yeor 2020. With this date soon approaching, the need for new handling of interment must be reached. 2 Cremation offers a viable alternative to the more common earth burials. Cremation saves space, time and money. The ashes of the deceased may be stored in nearly any item. For those who choose to have there remains still placed in the earth, c mere 16 square inch plot is needed. This means that 8 ums could be placed in the same amount of space as one typical coffin. This increases the number of people able to be interred in cemeteries by 800%. This is not taking into account any new forms of design in handling the ashes, which could potentially raise this statistic even higher. Columbaria ore walls thot are comprised of many niches for placing cremation urns. They are sometimes found inside of Mausoleums, and other times are free- stonding structures. The process of cremation is very specific. The deceased is preserved until cremation is approved. This approval typically is given by the comers office. After this the body is placed in a special combustible case and placed in the cremation oven. These ovens are large and technical pieces of equipment. (Appendix 8) The temperature typically ranges from 1600°F -1800°F, and ‘con consume a body in an average of 2.5 hours. This time varies depend- ing on the size of the body, temperature of oven. These ovens process the smoke, fumes and odor internally. After cremation there are still bone frag- ments left with the ashes. The remains are then taken to a processor, which produces a fine grade powder. This is then placed in an urn, or any other storage container provided. Historically cremation has been met with mixed emotions. It was sometimes used as 6 punishment for those had passed. Murders have attempted it to hide their victims remains. Their success is limited because itis difficult to pro-duce a fire hat enough to consume a body quickly. Christians has protested it because they believed it to interfere with the resurrection of the body. They also opposed it because it was viewed as being tied to pagan rituals. To the other extreme, cremation has been « positive force in many societies. The ancient Greeks cremated most of their deceased, believing that it was 2 means of purification. Indeed, in times of plague many European cities allowed it, seeing the practice as hygienic. Ancient Australions, Bronze Age Scandinavians, and Babylonians are all recorded as practicing cremation. Both the Hindu and Buddhist religions are keen on this method of decling with the dead. Some cities in Japan even require it. Cremation is becoming increasingly common. In the United States, approxi- mately 1 in 3 people is cremated, with it being more heavily favored in the western states. In California this rate jumps fo over 50%. In other parts of the world statistics are even higher. In the Czech Republic, Switzerland, and Denmark, the rates are 76%, 75% and 73% respectively. Yalom. 4 Programmatic Elements and Services Crematoria are comprised of many different spaces. The mast prominent of these is the main chapel. This is typically the largest area in the facility and is publically accessible. In some cases it contains religious symbols; however, this is not always the case. Cremation is viewed as secularizing influence, though the practice is accepted by many religions, including most Christion sects, Catholicism, Buddhism and Hinduism. In the United Kingdom, 80% of crematoriums surveyed stated that they had a religious dedication at their ‘opening, Irrespective of whether they were run by a religion or the local authority. Architecturally, the chapel resembles that of o church. Indeed, it often borrows the elements of stained gloss, alters, candles, organs, pews, cand sometimes religious symbols. The circulation of crematoria chapels does differ from that of most chapels in a significant way. Most churches require ‘you to enter and exit the building through the same passage. In crematoria it is common for you to enter and exit through different passage ways to different areas. It has unofficially been deemed the “one door in one door out” rule. Indeed this is @ prominent feature in many examples of this build- ing type, and may in part be the influence of Asplund’s Woodland Crema- torium. This is exercised for a number of reasons. One is the greater need to cycle people through the space, and past the body in some cases. The other reason is that of ritual. There is litle formal discussion. of what the proper rituals are for cremation, however, the separate exit provides potential for scripting the procession. (Davies) There are several spaces that may be periphery to the chapel. One of these is a waiting space, placed before entry to the chapel itself. When asked to include this space in his design for the Baurnschulenweg Cremato- rium, Axel Schultes describes area akin to a doctors waiting room. Instead, they created “a space fo bind people together to share the dilemma of grief” (Russel 224) He feels that this reinterpreted part of the program may be the most significant in the entire project. It allows people to come together in a more intimate way thon the wake held inside of the chapel. In ‘what could have been « simple waiting room they created a “metaphysical forest."(Russel 224) Other spaces supplementary to the chapel may include separate waiting cond preparation rooms for either the family or minister ‘The work spaces of crematorium are much more utilitarian. This stems from a number of different reasons. Firstly, these spaces are often closed to general public, though this is not always the case. Second, this is where the technical cond medical facets of the eccupation occur, requiring clean, sanitary, and ‘well lit spaces. In addition to spaces for ovens, these facilities must include spaces for storing the body. In many cases the body must be refrigerated ‘until documentation has been approved for cremation. There must also be space for handling the body, both before and after the burning. Before the cremation, the body may be inspected for things that will hinder cremation. Afterwards, the ashes and bone fragments are placed into processors that produce the fine grade osh that we assoctate with cremains. This part of the focility has its own means of circulation, separate from that of the chapel. I ‘often includes its own private carport for the hearse to deliver the bodies, unseen by grieving visitors. ‘While these spaces are treated in a utilitarian fashion, they are sometimes visited by the bereaved. In some cases they wish to view the burning. In Jopan, where cremation rates are incredibly high, it is not uncustomary to watch the process. In extreme cases, guards are placed there to keep peo- ple from trying to save the body or join it. In the Crematorium Heimolen, Belgian firm Claus en Kaan Architecten designed a large, clean, naturally lit hall in which three large ovens are placed. While it still tokes on the clean requirements of utilitarianism, it also provides o sacred feeling. This space is open to the public. There are several types of services that are held within a crematorium. One is a where o service takes place ot the crematorium, just before the start ‘of the cremation process. Another option is to hold o normal funeral service ‘offsite, ond then hove the body sent to the crematorium. The body may ‘cither be processed immediately or at o later time.2 Regardless, there is o disconnection between the time of the wake ond the cremation process. This ‘is often the case. ‘Several elements ore prominent in the design of crematorium. First is the “emphasis on natural light. Itis used to guide people through, softly or dra- motically light them, or provide ¢ natural feeling. The dominant use of the color white is also common. This may be for its purifying connotations, and its soft feeling. Norwegian architect Kjell Kristiansen states of his project that “The whiteness ond height stress the importance of the event.” (Preece 50) Indeed the expansion and compression of space is a dominant feature in the Scandinavian examples that | have visited. It has great influence upon the feeling one hos when progressing though the space. Kristionsen also ‘comments on the East-West orientation of his crematorium design, whichsymbolically follows the rising ond setting of the sun upon life. 5 Architectural Expression of Crematoriums Building and pprogram articulation has been expressed in ¢ variety of ways for crematoriums. However, there are several prominent models or trends. One example is a tendency to place the utilitarian parts of the facility below grade. This may be done for several reasons; to visually hide the program elements thet may be harder for the bereaved to handle, to take advantage of site conditions, or as ¢ method of organization in which public space is best served from below. Little evidence supports the notion that this has been done for any symbolic reasons related to death, though the connections to burial are uncanny. Rather, appears to be done for much more pragmattic reasons. Another debate is weather the chapel and actual crematorium spaces are connected or placed in separate buildings. While there is inevitably o di- vide in the program between front of house and back of house, this division may be handled in different ways. Itis not uncommon for both to be housed under the some roof. This is the case with the Baurnschulenweg and the Woodland Crematorium. In both of these instances the program is stacked, with the utilitarian spaces below. It is important to note that there is prec- edent for on grade facilities where both parts of the program are con- nected. Lusparken Arkitekter’s facility in Boda, Norway houses both areas in one building, albeit divided in two wings rather than stacking the program.1 There are also examples, however, of the two programmatic pieces being separated from each other. In the case of Claus en Kaan Architecten’s Cre- matorium Heimolen the chapel and crematorium are in separate buildings ‘on opposite sides of the site, separated by a small lake. Another debate in crematorium design is whether the building should ex- press its function. This is related to the above arguments. The most promi- nent way in which this dilemma manifests itself is in the expression of the chirmey. Varying approaches exist. In the Hagen Crematorium, the stack is quite prominently displayed. This was done for several reasons; the build- ing was @ prototype for a new type of building, and was influential upon policy changes in Prussia on the subject of cremation. A clear stance had to be taken upon what the building was. In the Boda example, the stack is express but hardly emphasized. It is used to balance composition] The Baurnschulenweg crematorium provides contrast to these examples. Located in @ German suburb, all expression of what the buildings functions are is hidden, including the smoke stake. It sts like « foreign object at the end of «a row of trees. The architects confess, however, that they had to consider the stigma thot Germans face with crematoriums after their prominent use dur ing World War Il. In Los Angles, this stigma is not of great concern. Modern crematoriums have not expressed the chimney in dominant ways. Indeed, while there is still use for them, technological advances in cremation mask the smoke and there is little visual proof. One crematorium facility in North Hollywood looks merely like an uninspiring strip mall ‘6 __ Placelessness and the Storing of Cremains One problem cremation must address more actively than cemeteries is the ssue of place. When a bedy is interred, there is a direct location associated with that person. Family members and close friends find this comforting, remains ore not handled in such a consistent fashion. They may be stored in several ways. ‘Some people opt to take the cremains eway from the crematorium. Several studies in the United Kingdom have examined this phenomenon. In these cases the crematorium no longer has any influence over the sense of place ‘in cremation. Those that take the ashes are in charge of creating that place. In some cases people build private shrines ot locations where the deceased frequented. Others keep the ashes with them in their homes, and sill oth- ‘ers scatter the ashes at some significent place. This process is impossible to predict, as it stems from the complex associations of the living and their connection to the deceased. It is important for the people to have a place to relate to the mourned. In the state of California, itis legal to: place cre- mains in columbarium or mausoleums, bury them in a cemetery plot, retain ot a residence, store in a house of worship or religious place, scatter ashes where not prohibited by other local laws, scatter in cemetery gardens, or scatter ot sea at a distance not less than 500 yards from shore. (“Consum- ‘ers Guide") There ore several ways in which cremains may hold the same powerful sense of place as traditional burial. They may be buried in the ground, just 03 traditional groves are. In this instance they take up only an eighth of the space required by c typicol coffin, making the interment of cremains 800% more efficient. (Prothero) They may also: be placed in and above ground monument, such as on obelisk or granite sphere. Similarly, cremains may be placed in a columbarium niche, which also has o direct sense of place. Columbarium are similar to mausoleums, but are specifically designed for ‘cremains. Traditional mausoleums themselves ere also capable of storing shes. Another common option is for the remains to be scattered in a remem- bronce garden. In some cases they are scattered in o specific spat, which the family can then memorialize ond connect with. However, other times they ore scattered throughout the garden, and the fomily does not know what rea is associated with them. Some have complained that they feel like they have lost that person completely once they no longer know where even the remains are. Indeed, the scattering of ashes in general may result in a feel- ing that the deceased is truly gone. One strategy that crematoriums have implemented to help the bereaved who feel a sense of placelessness related to the deceased is the creation ‘of mourning chapels. This facility is located on the grounds, and is separate from the main chapel. It is also much smaller, quieter place, intended for private meditation and not public gathering. It clways contains « book of remembrance, in which the names of all the cremated are placed, along with ean inscription.7 Governmental Oversight Public policy reloted to crematoriums is incredibly absent in the United States. There exists no national institution that regulates the funeral arts in- dustry, and few policies that pertain expliciily to crematorium facilities. This has resulted in several scandals, including a crematorium in Georgia which hed not cremated the remains but rather scattered them in an insensitive fashion around the site. A California institution was caught selling organs for medical research. Only c handful of states monitor their operation at all_ In 2002 the Californic Department of Consumer Affairs doubled is staff or cemetery inspectors, and more than doubled its caseload to 528 investiga- tions The lack of oversight in the funeral industry is problematic. It has resulted in limited omounts of statistics pertaining to the resources available in the profession. Policy failure in London provides an example of the potential problems with lack of regulation. There, as here, no one body rules over or monitors burial facilities. While there ore c multitude of cemeteries, they are all nearly filled. People must be interred at greater distances from their homes, which means they are charged much higher rates because they are outside of the area to which they paid their taxes. In the US, confirms that cemeteries are also filling up here es well. (Prothera) Cremation con help solve this problem. Crematoriums have been used to influence public policy. In Prussia, crema- tion was forbidden, despite a large number of advocates for its pradice. The Hagen Cremation Society paired their radically idea of burial with modem architecture. They built the crematorium before they had permis- sion to use it, and once it was completed, they sued for the right fo use it. The building became a symbol, and the cities mast visited attraction. Peter Behrens modern design influenced a generation of architects, including Le Corbusier and Welter Gropius. It also helped cremation become legalized in the state of Prussia. It is possible that America needs o new crematorium that will draw attention to impending problem of limited cemetery land resources, ond present the practice in a new light. 8 Environmental Considerations. Crematoriums face environmental challenges. The lack of governmental oversight means few restricHions have been set on emissions produced by the facilities. They are known to introduce both mercury and dioxins into the atmosphere. The EPA has put these emissions on a list indicating that there is insufficient data to investigate the severity of the problem. It is believed that the mercury comes from the burning of medical implants, such os filings in teeth. It is estimated that 3 grams of mercury per corpse are introduced to the atmosphere. This means that « facility that handles 3000 bedies «a year would produce 20 Ibs. of mercury. It is estimated that 238 lbs. of the gas are produced by this source every year in the U.S. In comparison, a single ConocoPhillips refinery produces 81 Ibs. per year. Other nations have strong policies regulating crematorium emissions. Taiwon has produced We studies indicating that filtration of the smoke dramatically reduces the num- ber of dioxins emitted.2 Similarly, Denmark is beginning to enforce emission controls on crematoriums for both dioxins and mercury. To do this one must cool the temperature of “chimney gasses from 800 °C to 100 °C." This con be done by running if through cool water. (Ls Not all by products of the cremation process are hormful. In fact, the process is capable of producing power for the grid. In Denmark, Sweden and the UK, excess heat from the process is used to add power to the grid, warming thousands of homes. While some have found this controversial, its practice hos not been challenged. Some have even supported it by stating that itis simply the responsible use of a byproduct of a sustainable funerary process. Indeed, itis both financially and ecologically beneficial to crematoriums.5, , ("Body heat”, “Britain”, Moeder) 9 The Ritual and the Sacred Few people are fully aware of rituals and processes associated with crema- tion. The process is still forming its identity. The modern crematorium itself hos only existed for just over a century. Its popularity in the United States is increasing, but lacks a clear domestic model. In California, nearly 50% of people are cremated, yet there is no emerging identity for these facili- fies. Most crematoriums are located in unassuming strip malls and mortuar- ies. Cemeteries that have their own crematory facilities seem to not be of the same design quality as those in Northern Europe. They ore treated as incredibly utilitarian pieces, with modest hints ct sensitivity. They are some- what removed from the funeral wake, ond their facilities lack ony features that indicate its purpose. The design does not help the crematoriums operate more effectively, nor do they actively aid in the healing of the bereaved. ‘When surveyed, 57% of those over 40, and 41% of those under the age felt thot cremotoriums were sacred. Of those under the age, those with more experience with crematoria were more likely to feel they were. Douglas Dovies states that this means that “remembering the dead is not a passive moment but o potent experience of the sacred” Indeed, this brings into play mony of Lindsey Jones’ beliefs about the ‘sacred’ in architecture. The building brings people together to mark a singular event. Davies also points ‘out that in the U.S. crematoriums are viewed as utilitarian pieces and not “symbolic architectural location.” (Davies 92) 40 Phenomenology Death is one of the few places that the eye cannot see. There is not glimpse head to the other side. It is one of the last unknown phenomenons in human existence. As noted above, this has different affects upon different people. Some embrace it, however fearfully, while others are terrified at the no- fon Architectural treatment of this program must be different from that of oth- ers. The intense emotions and gravity that people carry with them in thesesituations is unique to humanity. If the role of architecture is to serve the masses and to help people, os the original premise of modernism is, then this program offers a unique opportunity for architecture to have an impact upon the physic of its occupants, however temporary. In his seminal piece, The Eyes of the Skin, Juhani Pallasmac discusses the role ‘of vision in architecture, and how it has lessened the sensation of design_ However, if we are dealing with natural phenomenon which has no vision associated with it, then our architectural work may benefit from being less reliant upon our societies prevailing sense of dominance. The modern eye has become narcissistic and nihilistic. For architecture, this has led to a sense of detachment from amy sensory feelings. An isolated body, making archi- tecture not much more than visual self-expression. Vision is the sense dominating Western culture right now. This is clearly ex- ‘emplified in other fields, where analogies are drawn to opening your eyes. The ability to capture and manipulate images, to print and read, has led us toa place where we are hardened to the emotional impact of visual repre- sentation. As we are intent upon dealing with the emotional state of people we must find additional ways to supplement this sense. One way to do this is through the use of materials. “Natural materials- stone, brick, and wood- allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter” (Pallosmaa 31) These age ond history to be expressed. This materials all contain their own unique connotations. materials allow for th There lies great potential in new materials as well, While glass, metals nd plastics are usually used for their ageless properties, they too can be tactfully applied. Architectural expression through “reflection, gradations, transparency, overlay and juxtaposition” (Pallasmaa 32) all hold the obil- ity to create incredibly sensual and spatially engaging environments. The senses are the able to not just understand our physical surroundings but activate our imaginations and memory. Pallasmaa continues his discussion of phenomenology by talking about the role the other senses play in architecture. Where vision may be representa tive of the distance between things, touch reveals the closeness, an intimacy. This is why we close our eyes when doing certain tasks, such as daydreaming cor caressing loved ones. A separation from sight strengthens other senses. ‘Where the modern sentiment is to provide as much light as possible to a space, which indeed in my view has merit in many sftuations, darkness can also add to a space. By limiting the strength of sight, the other senses must play o larger role. itis in dim spaces that you get a tactile Feeling; mystery cand imagination come alive, and thoughts can be more articulated. The play of light and shadow is paramount. Tadao Ando is o master at this skill. In his Church of the Light me masterfully employs light to add to the spiritual nature of the building, while reinforcing the materiality and program of the structure. (See Appendix 1) Sound also influences our perception of space and vision. Through this sense ‘we feel the scale of space. The souring cavities of « cathedral for example, ‘or echo of an abandoned house. Likewise sounds are associated with im- ges, with places. |, for example, associate the music of Marina ond the Diomonds to the Copenhagen neighborhood of Dsterbro, where it provided the soundtrack to my summer of biking to work. Here, sound reminds me of ‘en urban environment. It con also provide triggers for memories of events, spaces, and an endless host of other expertences. Sound in architecture may be the result of conscious acoustical planning, that of the noise of the program, or the nature surrounding. The senses provide us with @ connection to something greater. They help us feel @ part of something; of an environment. This connection is paramount. Architecture provides people with the unconscious ability to be a part of a cycle greater than our lives because of its rather permanent standing. Hold- ing the door that has been opened by thousands of others, or touching the stone of a centuries old building all provide a feeling of something greater ‘when contemplated. Likewise, a connection to the cycles of nature provides this sensation as well. This connection to something must be connected to the design of grief. The uses of the proposed buildings ore in ¢ mental condi- tion searching for some kind of connection, or lack thereof, to help them integrote the experience into their lives in a helpful way. Toyo Ito draws « beautiful analogy for the role of architecture in events. Recounting a cherry blossom viewing party, where people gather with a simple sheet, and a tent, and immerse themselves in the event. It is not the orchitecture that is there first, rather it is the people celebrating the event. The role of the structure is fo provide a framework from which fo participate inthe event. It is in no way the Focus. This logic applies greatly to the frame- work of @ chapel and crematorium. What is important here is not building, but how it enhance the wake within 11 ~— ‘Statistical Necessity Loe Angeles County has @ population of 9.8 million people (statistics as of 2009). It is estimated that by 2050 the population will grow to 13 millon. (Colifornia Dept. of Finance). Currently only 6.7% of people claim to belong to religions banning the practice of cremation (Judaism and Islam)., Be- tween 1990 ond 2003 the death rate remained relatively flat, with on av- erage of 6.45%. If this remains consistent that means that funeral homes will need to accommodate 838,000 deaths annually. This is « significant swell. However, these calculations do not take into account the aging population. Jn 2006 the baby boomer generation began turning 60, with a life expec- toncy of 78-82 years. The Boby boomers account for 28% of the overall population. This means thot between the years 2024-2036 we can expect @ sizable portion of the largest generation in American history to pass. Currently, over 50% of deaths in Colifornia are cremated, with statistics indicating @ continual rise in this trend. There are inadequate statistics mea suring the states capacity to handle this large influx of impending demand. Further research and professional investigation will be continued regardingthis dilemma. However, it is known that cemeteries across the country are reaching capacity. In one decade itis expected that most cemeteries will be filled to capacity. (Prothera) This necessitates the need for cremation, and will likely result in its growing prevalence in American society. Another issue to keep in mind, though less prevalent, is land management. As cemeteries begin to fil up and close their gates there will stil be a need for upkeep. Traditional cemetery management has taken this into consider ation, with part of its budget set aside for this purpose. However, once, these coffers run dry the process will no longer be self sustaining. Crematoriums and more specifically columbaria offer increased advantage in that they increase the density of remains, resulting in less space consumed, ond reduc- ing the cost of maintain facilities. 12 Paramount Concepts There are several ideas that are paramount for the design of a cremato- rium, These are the concepts of image, symbol, security, and sacredness. These concepts are very interdependent. Currently, crematorium designs in America lack ony sense of these notions. A crematorium should be seen as symbolic building type. It is the final place that o person's body goes. It is where people gather to celebrate their life and mourn their loss. Because of these ramifications, crematoriums shuld not be mere strip mall or hospital structures of utilitarianism. There must be « stronger essence reassuring the bereaved that their loved one is being handled with reverence. These peo- ple require a place in which to mourn and associate with their friend. This is well argued above. The crematorium must be a place where one feels safe, and with an air of sacredness. The building is the final impression left upon the life of the deceased, and must be handled with more care than waiting room. The architecture must accommodate bath the sacred gathering of the bereaved and the final processing of the remains. 13 Site Rose Hills offers a potentially viable site. It has ample room for expansion. Its landscape is such that it could easily handle either the above and below grade strategy dominant in crematorium design. It is also able to hand the chapel and technical facilities in either combined or multiple buildings. The location can elso accommodate memorial gardens and access to @ larger network of existing burial facilities. Rose Hills location atop o hill may also be of significance symbolically, as it can be seen from the entire Los Angeles Basin, potentially avoiding a sense of placelessness, and ties to the city as @ whole. This hill top location may also be of benefit in distancing neighboring communities from the emissions that are produced. The more time and dis- once that these substances have to evaporate and cocl before reaching the ground, the less significant their effect. It is also an easily accessible site. Another viable site is tucked into the San Gabriel Mountains. This site has the advantage of distancing the population from any emissions. It too is able to handle the various connected and separated building strategies of Mlle crematoriums. Its natural setting may prove to be therapeutic, and ripe with symbolism and sense of place. The most significant hindrance is site access. lttakes more time to access the area, which is not used to high traffic flow. However, its dual proximity to the city ond the sense of differentiation from it may overcome this. Costal Los Angeles alo satisfies several of the criteria for crematorium de- sign. The location has easy accessibility ito palace deeply associated with the city, much more so than the mountains. It contains a strong sense of place, which contains strong potential for symbolism and image. However, it may not be able to handle all building types, inclusion of memorial gardens, and brings emissions closest to the population. Additional sites may sill be considered, specifically examination of more urban sites. However, these locations may be more limited in scape, and could bring the public closer to emissions.Program Description WMI ds This project consists of three main programmatic elements. These are the chopel, the crematorium, and the columbaria. There is a series of over ‘arching themes that serve to unify the three elements. The primary goal is to use architecture to articulate the processes of grief and healing that surround the rituals of interment, ond then feed back into the cycle. As explored in depth earlier, architectural phenomenology has a tremendous impoct on our perception of place, and even how buildings function. The intent here is to toke these three elements of program and evoke in peo- ple o sense of calming ond resolution. This cannot be achieved without mo- ments of tension, 6 tangible embodiment of the emotions running through the bereaved. ‘Within the Chopel section of the program are several basic elements. In- cluded ore two chapels for the commencement of memorial services. These ‘ore to be large open space with directed views to the surrounding kills. They ore to evoke o sense of the infinite, while ot the same time connec ing you to these around. This is place of shared experience. Research indicates that this communal act aids greatly in the healing process. These chopels are supported by supplementary spaces for family waiting areas, ‘ond chaplain preparation rooms, in addition to the stondard lobbies, restrooms, etc. The family ond cheplain rooms ore to be colm, meditative spaces. A supplementary meditation chopel is also provided. This is @ place for people to return to, as is quite « common practice of the bereaved. It is 0 much smoller space thon the afore mentioned chapels, and is for personal, rather than communal displays of grief. The crematorium contains both public ond private areas. In America, there exist few rituals or well defined conceptions about what the pro- cess of cremation entails, especially on a social level. There are however, precedents for modem crematoriums found elsewhere. Based on these ‘=xamples, ond upon trends in American interment, the crematorium is decidedly undinicol. It will of course meet clinical requirements of deanli- ness, for both very real health concerns, and for the peace of mind of the bereaved. Indeed, the back of house sections of this element, including the storage and preparation spaces, will retain their pure aesthetic. However, the room containing the incinerators shall be open to the families of the deceased should they choose to watch the procedure: It is to feel every bit as sacred os the chapel and other more clearly defined holy spaces. It shall receive natural light in some form, because this is not @ ritual to be shrouded in darkness, but to celebrate conclusion of a life. The design ofthe facility presents this as an option open in the formastion of new crema- tion rituals as the practice gains popularity. It is particularly important for this space to shed the image of the crematorium as an inglorious strip mall stripped of sacredness. The crematorium has direct ties to the chapels. Depencling on the ritual, the family may choose to watch the cremation after the memorial service. It may also be completed at a separate time from the ceremony, or be all together independent of it. Either way, there is ¢ direct correlation be- tween the chapel and the crematorium. It is nat uncommon for the cremato- rium to serve the chapel spaces from below. The final programmatic element contains the most abstract of require ments. The columbarium is where ashes are stored. Its also the place that people begin to attach their memories of the deceased os itis their final resting place. Because of this, itis importont that the environment is condu- cve to the preservation and evocation of memories. It is first and foremost a place of remembrance. Hawever it must also continue the burden of eas- ing the grief, and continuing the healing of the bereaved. Currently, mast cemetery designs present wall niches as places to proceed directly too. However, this is not conducive to meditation. Rather, the journey to the spot of remembrance that harbors the most potential for healing. This path is then interwoven with the paths to the other major programmatic elements, creating unique moments. While it will primarily be an external space, itis enclosed in some areas as part of the narrative, for various religious and technical requirements of entombment, and so that a variety of spaces maybe to be sold. The size of the columbarium is dictated both by the need for incredible density and by the amount of space leftover upon the site by the preceding pieces of program. A policy has been constructed that 50% of the site is to remain undeveloped. The need for density stems from the very real cemetery land use crisis that serves as the basis for this project.Program Space Summary ees Quantity: Gros: Area (sf) Chapel 1 10,198 [Crematorium 1 3293 247,869 Site: 12 Acres Net Area (sf) Large Chapet 1 3750) 15 Lobby 1 1000) 4 7 [Small Chapel 1 2280) 18 a lobby 1 609] 4 a Meditation Chopel 1 375 15 4 Bathroom 2 250) 31 Body Viewing Room 2 168] 2 S Family Woiting Room 2 200] 8 Chaplin's Room 2 200] 100 Maintenance 1 Z5| 75 SECONDARY CHAPEL Fretal Net Area e868 Cireulotion (15%) 1330] boner Gress Total Ares 10,198] [fetal Oeeupaney 860] MEDITATION CHAPEL cold storage 1 Dry Storage 1 60 300 2 cnerotor 1 720 21 2s Body Preperation (jpre) 1 224] Wz 2 Body Preperation (os) 1 224 m2 2 = odin Dake 1 iS ortce 2 200 50 4 ‘z Office Bathroom 1 25 2 ' ° |Office Storage 1 1 a. ig voinenance 1 1 ‘s Ww 1a frotcl Net Area 2863] 10 cretion (159) 430 ; |Gross Total Aree 3293] [Fetal Occupancy 53]Mill Program Data Sheets |General Description [Requirements Of entry space for chapel. Meant for lingering and to Lighting: Natural, Florecent |Ares: 1000 sf |Communications: none =a lL Walls: wood paneling |Adjacencies Chapel, family waiting Ceiling: wood paneling bathroom |General Description [Requirements entry space for chapel. Meant for lingering and to Lighting: Natural, Florecent Oeperenvescoetion: Reimer |Area: 600 sf |Communications: none Place for memorial services in rememberance of the Lighting: Natural, Florecent cameass 7 pans fseiaie desperate deceased. HVAC: Passive cooling/heating, HVAC Nee RS Saber Dimensions: Communications: phone WsGeclency a6 ae concede Neues Sip0et [Adjacencies ‘Chapel, Family waiting room, ceiling: wood paneling JArea/Occupant: 15 Finishes chasis eer bathuoers Walls: wood paneling |Adjacencies lobby, family waiting room, Ceiling: wood paneling chaplins room eee |General Description [Requirements small chapel for use by people who visit reguarly. Lighting: Natural, Florecent HVAC: Passive Cooling/heating, HVAC Place for memorial services in rememberance of the Lighting: Natural, Florecent Quantity: 1 [Water/Sewer: plumbing where needed \deceased. Group A occupancy HVAC: Passive cooling/heating, HVAC Net Ares 375 sf Power: standard 110v with GF jarez/Occupant: 15 Finishes lAres: 2250 sf Communications: phone NetOceupancy: ‘25, eer: concrete, quantity 1 Water/Sewer: __mone Walls: wood pani Net Area 2050st [adjacencies Columbaria, meditiation ceiling: wood paneling Jares/Occupant: 15 Finishes paths, bathroom Walls: wood paneling chaplins room:tr tal [General Description Iservices chapel and adjoining family and chaplin roams | lArea: 125, lQuantity: z Net Area 250 lArea/Occupant: 31 Net Occupancy: 8 [Adjacencies Chapel Lobby, columbaria, meditation chapel Requirements Lighting: florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110 with GFI (Communications: none Water/Sewer: floor drain, sinks, toilets Finishes Floor: tile Walls: gypsum, Ceiling: gypsum Enercon |General Description Istorage for bodies before and after preperation lArea: 600 lQuantity: 1 Net Area 300 JArea/Occupant: 300 Net Occupancy: 2 [Adjacencies body preperation, offices, Incinerators, loading dock Requirements lighting: Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110v with GFI Communications: phone, wi-fi Water/Sewer: floor drains Finishes Floor: tile Walls: tile Ceiling: ypsum Penne |General Description to contain items such as urns, coffins, medical supplies land any other items needed in the operation of a Jcrematorium lArea: 600 lQuantity 1 Net Area 600 lArea/Occupant: 300 Net Occupancy: 2 [Adjacencies “offices, body preperation, incinerators, loading dock Requirements Lighting: Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110v with GFI Communications: phone, wifi Water/Sewer: floor drain Finishes Floor: concrete Walls: ‘gypsum Ceiling: gypsum [General Description Designed to be a large open space, hospitable to familes |who choose to view the cremation. incinerator dim 7x15 then x2.5 for area.. Area: 780 Quantity: 1 INet Area 730 larea/Occupant: »t7st/person cals unattached: 112 [Net Occupancy: 21 (Adjacencies ‘body preperation, cold storage, dry storage [Requirements Lighting: Natural, Florecent HVAC: Passive Cooling/heating, HVAC Power: 110v with GFl, 220v phasel/phase3 ICommunications: phone, wifi JWater/Sewer:__none Finishes Floor: concrete Walls: Bypsum; possibly tile ceiling: eypsum |General Description ISpace for technical operation and preperation before lereamation larea: 224 Quantity: 1 Net Area 2 JArea/Occupant: 112 [Net Occupancy: 2 [Adjacencies incinerators, cold storage, dry storage, offices eee) Requirements Lighting: Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 140v with GFI Icommunications: phone, wifi Water/Sewer: floor drain, sink Finishes Floor: concrete Walls: gypsum ceiting: gypsum [General Description [Space for technical operation and preperation after |creamation lArea: na Quantity: 1 INet Area 224 JArea/Occupant: 112 [Net Occupancy: 2 [Adjacencies incinerators, cold storage, dry storage, offices [Requirements |Communications: ieee Florecent Passive Cooling/heating, HVAC Standard 120 with GFI phone, wifi Water/Sewer: floor drain, sink Finishes Floor: concrete Walls: gypsum Ceiling: gypsum(tinier [General Description Protected space for funerary vehicles to deliver the ldeceased and supplies JArea: |Quantity: Net Area |Area/Occupant: Net Occupancy: [Adjacencies ‘cold storage, dry storage, offices, body preperation Requirements Lighting: Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110v with GFi ‘Communications: _ phone, wifi Water/Sewer: floor drain Finishes Floor: concrete | Walls: nla Ceiling: nfa Genera rcpt econo oor tomer oe Sere macgemndsliincematiline| lcie Willies Ispecial room for family to wait in together before the Lighting: Natural, Florecent |functions, as well as maintence of the columbaria HVAC: Passive Cooling/heating, HVAC eee ree sa nine ee eaeaantiones Power: Standard 110v with GFI |Area: 100 |Communications: phone, wifi i wa PS aie: Sore we. «=| Co oa} =. ete ee ee i Net Area 200 sf |Area/Occupant: 50 Finishes OT ee 2 oof = a oe 2 ss nee past ‘gypsum [Adjacencies loading docks, office bathroom, Ceiling: gypsum |Adjacencies incinerators, chapel ‘gypsum office storage, body preperation td Crd [General Description inspirational and peaceful space for the chaplin to |gather his thoughts before proceeding with the memorial service or other pastoral duties lArea: 100 sf Quantity: 2 Net Area 200 sf larea/Occupant: 1 [Net Occupancy: 1 [Adjacencies Chapel [Requirements Lighting: Natural, Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110v with GFL |Communications: _ phone, wifi Water/Sewer: __none Finishes Floor: carpet Walls: gypsum ceiling: gypsum CREraU cd [General Description |Space for final viewing of the body before the memorial lservice and crema Area: 84 (min)(100) lQuantity: 2 Net Area 168 JArea/Occupant: 12 Net Occupancy: 24 [Adjacencies incinerators, family waiting room, cold storage Requirements Lighting: Natural, Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110v with GF Communications: phone, wifi Water/Sewer: none Finishes Floor: carpet Walls: ‘gypsum ceiling: ‘gypsum pedis eel |General Description services the office, and back of house crematorium larea: 40 Quantity: 2 Net Area 30 JArea/Occupant: 25 [Net Occupancy: 2 [Adjacencies Offcie, body preperation [Requirements Lighting: Florecent HVAC: Passive Cooling/heating, HVAC Power: Standard 110v with GFI |Comrunications: _ phone, wifi Water/Sewer: floor drain, sink, toilet Finishes Floor: tile Walls: gypsum ceiling: eypsurnCie [General Description sevice space for the office lArea: 80 lquantity: a Net Area 80 lArea/Occupant: 80 Net Occupancy: 1 [Adjacencies ‘office Cioran nor [General Description Iservice space for the offices, crematorium and chapels larea: 75 lquantity: 2 Net Area 150 JArea/Occupant: 75 Net Occupancy: 2 M Resource Allocation [Adjacencies office, chapel Requirements Lighting: Florecent Us Power: Standard 110v with GFI Communications: none JWater/Sewer: none Finishes force aS iene een Net Ares (sf) Cost/s cost Large Chapel 3750 170 637,500 Lobby 1000 170 170,000 Small Choe! 2250 170 382,500) lobby 600 170 102,000] Requirements |seditotion Chapel 375 170 63,750 Lighting: Florecent Bathroom 250 220 55,000) HVAC: Passive Cooling/heating, HVAC Body Viewing Room 168. 175 29,400 Power: Standard 110v with GFI Famity Woiting Room 200 170 34,000) Communications: phone Chaplin's Room 200 170 34,000 Water/Sewer: floor drain, sink [Mointenance 75 190 14,250) Finishes 1,522,400] Floor: concrete wake Bypsum meron cons oon Net Ares (sf) Cost/s cost Cold Storage 600 220 120,000] Dry Storove 600 ue 66,000 incinerator 780 220 171,600 Body Preperation (pre) 224 220 49,280 Body Preperation (post) 224 220 49,280 loFtice 200 120 24,000 loFtice Bathroom 80 220 17,600 office Storage 20 ue 8,800] Liointenonce 75 190 14,250) subtotal: 520,810 Niches Net Area (s-.) Cost/s. cost 200,000 120 24,000,000 (Subtotal: 44,616,420 [Fetal Contstration Cost 26,043,210)survey ep Inapection 250,009 |Geotechnical 8,000} ia tibiae 275000 Jor Ste Usines 300,009 [Plan Check Fee (5% Total Construction Cost} 1,302,160) it dnd Hil nh casas retin (294 of Tat Conon Co stones Escalation 2 years (2% Construction Costs) 520,864] peston Contingency (1096 Censcton Con apocan isa cane cat scenes roe Boned Cont 2ssas72 Architects Fee (6.5%) 1,692,808 ainsi Expenses Sy Taiz reo jal Total $_34,828,235.00| 7Schematic Design Scheme 1: Center Block This scheme provides « more concentrated mass. From ¢ maintenance ‘viewpoint, this is very advantageous. It also allows for the crematorium to serve the chapels and other spaces from below, as is typical in most mod- ‘em facilities. The remainder of the site is left vacant, helping to distinguish the center from the creas around and te preserve the natural landscape. More importantly, it sets up a buffer between the center and the road, becoming cn integral part of the journey. The way in which this plan inter faces with the topography allows for complex sectional relationships. Its also @ scheme that maybe more easily replicated in other locations, which may be desirable to other cemeteries also facing land use crisis. s—~ “Xs ° TH Columbaria Scheme 2: Paths Mlle This scheme provides strong opportunity for scripted journeys, which the cemetery typology is sorely lacking. The trail is designed in such a way os to clearly delineate between parking zones, connect nodes within the cemetery, and reveal specifically choreographed views. It also separates ‘the various pieces of program, which can be seen in a positive light, as it separates the various funeral parties that maybe occupying the site si- multaneously. Additionally, this leaves pockets of natural space left over, which provides « more calming setting, less maintenance, and potential for future expansion. The program is allowed to occupy the topography in a ‘very localized way. a 9 Tl ColumbariaSite Assessment and Analysis WMI The largest active cemetery in the world will reach copacity in 50 years. This has severe implications for architecture and urban planning. How do ‘you solve the issue of land management while still to deconeefoncouymomn ina teens cool ishardly o Sind dae nie respond fo the o with the and close proximity to a noture reserve.Ue Nodes 1. Mamerial Chapel 2. Sky Rose Chapel (FIW employee designed) 3. Greek Orthodox Chaps! A. Skey Ridge Lawn 5. Garden of the Passage 6. Buddhist Columbartael zc laAging Population age ume between the years 2024-2036 we can expect a sizable portion of the largest generation in American history to pass Cemetery Management graves ‘ume Within the next 10 years the majority of cemeteries will reach capacity. This has already become a huge issue in England. Cremation ‘Sof cremations me Cremation is gaining popularity in the U.S. In California nearly 50% of the de- ceased are cremated. Programmatic Arrangement | Back of house } | i Stacked Joined Separated These are the three programmatic arrangements most common in crematori- ums. The stacked approach is arguably the most common, or at least influen- tial. Back of house is often placed below grad so that itis out of sight, and so that it can most easily service the chapels.Conflict O OOOUQOC00U OOOO000000 utilitarian perception sacredness of event vs There is a lack of strong architectural articulation of the crematorium in America. It has been reduced to a utilitarian space, where it should have a sacted and phenomenological aspect. This is a missed opportunity. Sh Emissions Ee gal rine Crematoriums emit some mercury and dioxins. However, these are drastically reduced when the gases from the chimney are cooled down before they enter the atmosphere. This heat can be captured and used to supply power to the grid. Proper management can result in a drastic decrease in emissions and an increase in the production of power. Ritual No clear ritual exists regarding cremation. It is handled as a typical burial. Cur- rently all major religions accept the prectice with the exception of Judism and Islam._Final ProjectMdlld Site Plan: NTS Floor Plans: NTShy MHTAXONOMY NODES PATHS INTERSECTION Va DENSITY 17.424 REMAINS < 128,731REMAINS - 740% MORE EFFICIENT HEAT RECLIMATIONPROGRAMATIC STRATEGY Family Rooms -Chaplain Rooms CHAPEL “0 SeatThe goal of this project is two-fold: to explore interment as an infrastruc tural issue and to exemine the role that architecture can play in the pro- cess of grief and healing. The project is developed os o series of paths ‘cimed at evoking different feelings. Specific paths have been designed for members of the funeral party, and for return visitors paying respect to the memorialized. A shifting relationship to nature, spatial experiences, -and close attention to texture all work together to form an phenomeno- logical experience stimulating oll of the senses. The path acts as a columbaria, with enclosing walls containing spots for the cashes of the deceased. The crematorium and chapels are located at the crossroads of these paths. An open central courtyard separates the two chapels, and allows for circulation through the rest of the site. The build ings play with the concepts of light and heavy, reflecting their surround. ings. GRIEF AND HEALING IN ARCHITECTUREyy endix VM Vi Appendix 1 Church of the Light Architect: Tado Ando Location: Ibarcki, Oscke Yeerr: 1989 Me Tadao Ando’s church reveals o masterful command of light, shadow, and ‘tactile quality. The cube is side lit by @ window from which it captures light reflected off a wall, and by the cut out of the cross at the far end of the: sonctuary. This cross allows for the Christian emblem to dramatically cast its light across the room in a new way each day, playing with the shadows. Toctilely, the most dynamic element is the floor. Sloping slightly down to the alter, this gesture guides you to where your focus should be. This no- tion is reinforced by the simple materiality of the project, which consists of concrete and blackened wood. The concrete gives sense of timeless- ness. Likewise the wood is something you can relate to as it ages, and to its warm texture, Figure 1: Study of light ond shadow in the church. © Tadao Ando Figure 2: Image of sanctuary. Notice the way the light enters the building, ond the materiality. © flickr: Michoe!Scullion OOAppendix 2 COMPETITION ENTRY FOR CEMETERY IN JARVA COMMON, STOCKHOLM Architect: NRJA Location: Stockholm, Sweden Yee: 2010 Presented here are the size and space requirements for typical interment. The information is that supplied by Welters Organization Worldwide, leading manufacture of funerary infrastructure. The purpose of presenting this information is to demonstrate an understanding for the technical re- quirements that must be known when designing o facility for the deceased. All images © NRIA ie ey ie io] ueAppendix 3 Skogskyrkegérden (also known as Woodland Cemetery) Architect: Erik Gunnar Asplund and Sigurd Lewerentz Location: Stockholm, Sweden Yee: 1915 The Woodland Cemetery has many admirable features. Its landscop- ing creates a deep and moving space for @ variety of experiences. One of the most dynamic space is the large clearing with o hill topped with 1 which may be reinterpreted in anyway one desires. When I visited the site during the winter small circle of tress. Iris filled! with symbol compelled to climb the hill to. understand where | was, and gain & new perspective on what surrounded me. The simple gesture hs @ profound impact. The woods ore the next important feature. Most of the: graves are scat- tered throughout the natural thicket of trees. It's « large and haunting place filled with trees. Yet, these woods occasionally give way to a dear y. These breaks axis’, directing one to specific parts of the cemet also compelling One of the most impressive aspects of this cemetery is that it may be ex- perienced in a multitude of ways. No matter what the climatic condition, it instills @ sense of something greater, as seen in the photos. Figure 1: Trail to Resurrection Chapel during winter. Notice the strong oxis Dovid Burns Figure 2: Trail to Resurrection Chapel during summer. Figure 3: A group journeys down the hill located at the center of the Woodland Cemetery. ©0 vid Borne Figure 4- The same hill provides a new vivid spectacle for contemplation during the spring ckr: Christin M emotional Figure 6: Graves in the woods. Surreal ond never-ending. © Figure 7: Condle light event inAppendix 4 Holy Cross Chapel Architect: Erik Gunnar Asplund Location: Skagskyrkogarden, Stockholm, Sweden Yeeur: 1940 The circulation ond scale of the spaces in Asplund’s Chapel are both notable. You enter thraugh small entrance that appears to be to the side of the main building. This presses people into a small waiting room where they wait for anather small door to be opened leading them into a large sanctuary. You enter it from the side and must turn to the left to progress down into the seats. After the ceremony is over, you turn and face the wood cand glass wall to the rear of the space. Initially, this wall gives you glimpse of what is to come. This wall is then lowered into the floor, opening up the entire back surface to covered colonnade sur- rounded by nature. This space has grand propor- tions Figure 1: The main sanctuary. The floor slopes down, tactilely drawing you're your gaze to both the mural, the deceased and the family. Figure 2: The rear doors to the sanctuary. The wall slides into the ground at the conclusion of the ceremony. Figure 3: The courtyard outside of the chapel. This is the space you enter into at the end of the ceremony. In the background you may see the wall that slides down. All picturas © David Burns Beem UL aT MTL HH Appendix 5 Chapel of The Holy Cross Architect: Pekka Pitkénen Location: Turku, Finlond Year: 1962-67 After visiting the Chapel of the Holy Cross, what has struck me the most is the procession though the building. There is o clear journey. Shown here is serial vision sequence that I have token, followed by a sectional diagram of how the spaces felt and opened up internally. The program consists of two funerary chapels on the ground level, with crema- torium Functions placed below. Figure T: The low covered walk way seems to hug you, drawing you into building, between nature cond the manmade environment, or rather some- thing thet feels solid. Figure 2: After entering the first set of doors you are faced with another leading you to the sanc- tuary. The same solid wall from the breezewoy follows you in clong the right. The left side how- ever opens up to « new level of space, feeling less confined ond slightly freer. Figure 3: As you enter the chapel you find your- self on its side. The wall on your right grows to unseen heights, as hinted by the shadow lines of the balcony. An opening breaks through this wall to provide a natural light sofft, and place to sit if cones chooses to pause their journey. The lights in the rest of the space feel warm and inviting. Figure 4: Turning, one feels the space expand and lighten. Cool natural light from the far side fills the space, os well as that From two carefully placed skylights. The bench provided o sense of continual. ity that progress back to nature. All picwres © David BerneMiddl Appendix 7 Crematorium Baumsehulenweg Architect: Axel Schultes Architekten & Charlotte Frank Location: Berlin, Germany Year: 1998 This non-denominational crematori- um is located in suburban Berlin. To its quests # provides a totally new calming feeling from the context cround i. Is limited material pallet and gentle detailing provide a dam ‘and soothing sensory experience. The slits bisecting the ceiling pro- vide norrow channels of light that you as you enter. In the cen- ter atrium you can feel the expan- sion of space. The souring columns feel like @ random maze, just as the emotions one is experiencing in the space. Yet as you continue through itis simple understood. The columns divide the room into four spaces. Figure 5: Sectional diagram of the procession to the: sanctuary. Figure 1: Ribbons of light guide one through the space os you enter @ Fike S6etot A Figure 2: Columns in the central room divide the space different sections. © Fickx96dei 1Figure 1: The sanctuary provides o calm and focus feeling in what feels like o timeless and natural space. © Flikrslosase Figure 1: The exterior of the build ing provides @ calm approach. © Flickrloaaeo Figure 5: The limited color pallet provide one with a clam but dy- namic intrepetation of the space. © FidenS6dpi +—— Entrances 1 Implied Rooms:Appendix 8 Entombment Requirements The following is information regarding cremation ovens. The technical size requirements weigh importantly in the design of a crematorium. The information is that of c product by Mathews Cremation. bitp:/ /www.matthewseremation.com Power-Pak Il Cremation Equipment The New Standard ‘SMOKE-BUSTER™ 140 2.—Hours or Less Cremation Time Up to-4 Cremations in 8 Hours The Power-Pak Il Cremation System represents the very latest in cremation industry technology. Designed to pro- vide fully automated operation, the Power-Pak Il is the fastest, most fuel efficient cremator in its dloss. AUTOMATIC OPERATION - The self-monitoring control system simplifies the cremation process, shutting itself off pon completion of the cycle. OPERATOR SAFETY - Underwriter’s Laboratories (UL) listed represents the most widely recognized measure of safety and compliance, ensuring the safety of personnel and facilities. ‘SMOKE-BUSTER™ 140 - This feature effectively consumes and destroys smoke and odor From the cremation process. HYDRAULIC LOADING TABLE - Conveniently allows one person to safely and easily load the case into the cham- ber, coolers, coaches and vans. POLLUTION MONITORING AND CONTROL SYSTEM - Automatically checks and regulates stack emissions. The Power-Pak Il is pre-wired, pre-piped, and pre-tested before shipment, requiring only off-loading, one con- nection each for gas and electricity and placement of the stack we provide. ‘QUIET OPERATION - Exclusive “Whisper Shield” allows operation without disturbing other services. RETRIEVAL SYSTEM - Retrieval of cremated remains is safe and quick with the convenient external collection hop- per. ‘OPERATING CONTROLS - Advanced PLC System - 10-inch Hi-Definition color touch screen monitor with simple ‘graphic illustrations of everything happening during the cremation cycle. CREMATION CHAMBER FLOOR - Unique “Hot Hearth” design eliminates fluid runoff and minimizes fuel consump- tion. STAINLESS STEEL STACK - Non-corrosive with 4 1/2" refractory lining for strength, durability and safety. INSULATING THICKNESS - 12” of multi-component materials for longest lasting refractory and highest thermal efficiency. LOADING DOOR - Self-locking, self-sealing door opens and closes at the push of a button. POWER-PAK Il SPECIFICATIONS: Height: 84" / 254m Width: 6°5° / 196m Length: 146.75" / 444m Weight: 24,000 Ibs. / 10,886kg Fuel: Notural or LP. Gas (Diesel Oil available) Electrical: 220 volts, 1-phose/3-phase Control Panel can be located right, left or remote MillPresented here are the size and space requirements for typical interment. The information is that supplied by ‘Welters Organization Worldwide, a leading manufacture of funerary infrastructure. The purpose of present- ing this information is to demonstrate an understanding for the technical requirements that must be known when designing a facility for the deceased. “The nlackal poperiyconianed witin fs Gocurtent bongs © weltrs and sno dasied lobe nie pubis domain Internal Dimensions Only 2an00 ‘Subject to Cemetery Authotly approval, a welters extensions ring can be added to the top of all wellers burial chambers to create burial space Ml Suess anweyanoy sen sets ‘ecenson ing canbe aed ie op ofa ves pe Garces case acsters sural space Recmunececseereseye| WORKS: AY dmonsionsin rm Sno na ores Burial Chamber. Double Depth Niche Walls