Deadland by Maria Hines

8/10/2019 Deadland by Maria Hines

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Deadland:

A Cemetery Design

in Columbus, Georgia

Maria HinesMaster of Landscape Architecture

2014

Auburn University


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Acknowledgemen This project would not of been possiblthe support and guidance of professor Barnett and Charlene LeBleu. I could not othis level work, or creativity without ththe course of the last six semesters, I hchallenged and taught to think, draw, alike a designer. For this, I am incredib


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DEAD

A CEm


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D:

RY DES


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Table Of Contents

13294561

Rationale

Case studies

Site

Schematic Design


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Research Question:How can rituals inform and structure a cdesign in Columbus, Georgia?


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Cemeteries are sacred spaces that have the ability to evoke awareness, fear, awe, revmemory and other high emotions that transcend the spatial. When one thinks about a cemit is often a mystifying space embedded with the eternal promise of death, an endpoint a nal resting place. However, these landscapes exist among the abiding city that is veryalive; creating a tension between recording death, the landscape, and the organisms city. Still, these spaces are permanent green spaces within the urban environment- that substantial community space. For this reason, they pose public issues- burial has social, political, and environmental implications. When ignored, the tension of the cemetery amondidactic, evolving, and uid nature of the city can create a landscape which is static and for This thesis challenges existing cemetery models wherein the signi cance of designed elehave been forgotten, rituals rewritten, and a barrier created between Americans and their dhybrid approach is explored, through research by design, to elevate the cemetery to a comwhich is accessible and a part of the urban realm. A series of design explorations is testeintersection of three historic cemeteries in a parking lot in Columbus, Georgia. The aim of this to illustrate that rituals can act as a lens for cemetery design, and still be sensitive to rememand the psychological necessity for grief. The thesis seeks to reanimate community rituthe cemetery, suggesting the cemetery is a landscape as much for the living as it is for th

Abstract


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SECTION 1:Rationale


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Landscapes of Death: The affinity of the Cemetery

The design of American cemeteries has not advanced with the avidity of other landscapetypologies. The signi cance of designed elements have been forgotten, rituals rewritten,and a barrier created between Americans and their dead. Cemeteries are no longerseen as a vital component of a citys cultural inventory, but as a necessity- a nal restingplace for the dead. Cemeteries are permanent green spaces, which occupy substantialcommunity space among the abiding city; creating a tension between the recordingof death, the landscape and the organisms of the city. Given this, cemeteries are notidentical; they vary across geographical region and scales of time, creating landscapes withspeci c identity. Burial in the United States has been informed by cultural, political, andeconomic concerns fueled by society- creating landscapes intimately connected to place.

The cemetery, as it is known today, rst emerged under the concept of a graveyard. Thecolonial graveyard was heavily in uenced by English burial practice. They were oftengeometric in design and located in farm elds and churchyards. Graveyards featured some

iconographic markers made of wood and stone. Functional in design, graveyards weretypically intimate spaces of either family or religious ownership. The shift from graveyardto cemeteries occurred from the late 17th century to the early 19th century as part of alarger reevaluation of the appearance of the city; as a result, Americans had to reconsiderthe characteristics of burial (Sloan 1992). This resulted in the abandonment of the graveyardconcept and the introduction of the Town/City cemetery. Unlike the traditional graveyard,the Town/City cemetery had characteristics of a formal garden on the borders of the city. Itplaced an emphasis on decorating the ground plane of the cemetery with three dimensionalstone markers, sculptures, and monuments as a memorial for the departed loved one.

The City Beautiful Movement further reformed the cemetery into a typology which notonly intended to remember the dead, but also served as a space to promote moral andcivic virtue among urban populations. Known as the Rural-Cemetery movement, thesecemeteries have received more attention than any other cemetery style. The Rural-Cemetery is a picturesque landscape, with gardens and lavish horticulture experiments.

They are typically located in the suburb of the city, and have three dimensional monumentsmade of marble and granite. More importantly, they re ect antebellum middle classculture, Romanticism, sentimentality, and family ideals. One of the most culturally relevanexamples is Mt. Auburn, located in Cambridge, Massachusetts. Equally important, thdevelopment of rural cemeteries sparked the public park movement within the states,which ultimately removed the community from the cemetery except during funeral rituals


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of death. This was accomplished by substituting gravestones with headstones closeto the ground and erecting three dimensional monuments and sculptures in centrallocations, surrounded by trees. The Lawn Cemetery was the prevailing model for thelatter half of the nineteenth century until it was replaced by the Memorial Park model.

The Memorial Park is the twentieth centurys contribution to the burial of the dead, and hasfurther isolated Americans from death. The establishment of Memorial Parks responded tothe commercialization of death, the institutional development of the hospital, technologicaladvances in medicine, and the privatization of the funeral industry (Sloan 1995). MemorialParks have become familiar throughout the states; they are accessible both by the moderntechnology of the automobile, and the value laden atmosphere- lot holders are invited tobury their dead and leave the care and beauti cation of the burial place to management(Sloan 1995). Like Lawn Park cemeteries, Memorial Parks are pastoral in design, featuring

suburban qualities. However, unlike Lawn Park cemeteries, Memorial Parks have no threedimensional markers, monuments, or sculptures, instead markers that are ush to the ground.While landscape elements include bucolic sweeping lawns and a edge condition of trees.

Through tracing the history of burial in the United States one can see that the typology of thecemetery has evolved to one which spatializes American views of death- isolated, distant, andcasual. Moreover, the Lawn Cemetery and Memorial Park are homogeneous landscapes that canbecome static and abandoned. These typologies have been replicated across the United States,haphazardly, virtually erasing the unique qualities that can comprise a cemeterys identity. This is due to a blight of scared space, cemetery culture, and Americans somber relationshipwith death. While alternatives to the Lawn cemetery and Memorial Park cemetery model areemerging, they are limited in law and perception. Current alternatives include multiple-usecemetery, natural burial, entombment in a mausoleum, cremation with ashes preserved ina structure or scattered, and buried elsewhere. However, none of these models have provento effectively incorporate a cemetery culture which engages post baby boomer generations

(in rituals which are accessible) who cope with death differently than generations past.


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[graveyard]

[town/city cemetery]

[rural cemetery]

[lawn park cemetery]


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A generational landscapeAmericans are both repelled by and drawn to the topic of death. In fact, the American cemeteryis a landscape that re ects generational believes about death, ceremony, and rituals in formand function.

Prior to the nineteenth century, death was a part of domesticated life. Family and friendsprepared the body for burial. Both the wake and the funeral world take place in the home,clocked in black fabric and owers, until the later part of the eighteenth century were it was

moved to the church. Once the grieving period was over, bodies would be lifted and carriedby palm barriers to the grave site. A short service with a sermon would occur. As a nal act ofsaying goodbye funeral attendees would place dirt on the casket as a nality of the journey.Nonetheless, in the twentieth century, Americans excluded death and denied its presencein the landscape by entrusting the dead to specialist such as funeral home superintendents,morticians, and other entrepreneurs; embalming bodies to hide their decomposingappearance; and shifting funeral rites from the family home to the funeral parlor. The funeralparlor served as a place to display the domestic identity of the deceased, as well as serve as asigni cant location for the funeral.

The popularity of embalming has been seen by scholars as both a denial of the dead, andalso an important funeral ritual. Embalming the body hides the physical processes of decayand places the body in a state that is supernatural domestication - further distancing theindividual from death, by portraying death as an eternal state of sleep. However, some scholarsargue that viewing the embalmed body reaffirms the realities of death (Laderman 2003). Therelationship between the living and the dead proves to be one of tension and ambiguity-death is undeniable.

While some death rites have vanished from the landscape, other than six feet below our feet,Americans have not stopped acknowledging death in popular culture. For example, death isa reoccurring theme in Walt Disney lms, Madonna songs, and television. Given this, someseculars argue post baby boomer generations are desensitize to death and avoid mourningdue to overexposure in media depictions.

Indeed, a separation has occurred between the living and their tangible care of the dead and

the landscape; but the topic of death is pertinent to many Americans. In fact, Generation Xand Generation Y (Millennials) have begun to project their own sensibilities onto ritual anddiscussions surrounding death. As be ts the rst generation of digital natives, they are startingblogs, YouTube series and Instagram deeds about grief, loss, and even the macabre, bringthe conversation about bereavement and the deceased into a very public forum (Seligson,2014:2).


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chose cremation by 2018(CANA 2011).

Americans somber view of death coupled with the shifts in attituof desensitization to death and mourning, and environmentaresponses leads one to think that the typology of the cemetery not be the solution. Instead, a new typology needs to emerge, onthe term cemetery; but still provides a solution to burial and reccentury with death through rede ning and creating new death rit

[Above: a local grave site in Auburn, Alabama is adorned with carefully selected mementos memorializing t


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Aim:


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Ritual / RITEa. a prescribed act or observance in a religious or other solemn ceremony.b rituals help to bridge the gap between the past present and the future thro


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SECTION 4:Case Studies


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the national

911 memoriPWP Landscape ArchitectsNational 911 MemorialNew York, New YorkProject Completed: 2011


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Fulton Street

W

t i d e

h w a y


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e e n w

c

S r e e t

The National 911 MemoriMichael Arad (architect) Walker and Partners) Landa memorial to respond to theoccurred on September 11, 2

had to include spaces for spaces for the city to comea moment of re ection, ythe needs of the city in term

The original design came establishing a voyage and rhyand materials to pull visitors tallow time for one to cope wthe destruction. The site was seriver running through it (markmovement of visitors), with twwith water which mark the naas well as the original locationSurrounding the commemoraspace which aims to accomp

First, the plaza elongates the of the plane which the vothe plaza creates a space spiritual procession which is experience of the memorial. plaza creates an edge condcity and the memorial-situatinframe of mind. Lastly, the pl

scaled public space for Manh

The design of the memorialthat utilizes a symbolic lanby a diverse audience visible. Moreover, throu

De nieuwe


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The Nieuwe Ooster Cemetery, section 87, is an expansion of the largest cemetery in theNetherlands. The cemetery was designed using the theoretical framework of a barcode asan attempt to connect the section within the larger context of the cemetery. As a whole,the cemetery responds to the current trends of burial which include cremation, densi cation,and diversity of burial types. For example, the cemetery features sculptural zinc columbiumas well as traditional burial plots. Burial is minimized through an undulated surface that isinscribed to articulate the names of the deceased. Moreover, sensory encounters are createdthrough the use of plant and construction materials to provoke a conversation about time.

l d l l l d

De nieuwe

ooster

cemeteryKarres + Brands Landscape Architects The Nieuwe Ooster Section 87

Figure 5: Karres en Brands LandscapeArchitects.

FiAr


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Figure 10: Karres en Brands LandscapeArchitects.


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Figure 14: Karres en Brands


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Langedijk Cemetery is unique in that it is connected to a network of greeninfrastructure. It purposely connects to other green spaces and over thewater to provide access to citizens. This is accomplished through the use of

a strong architectural armature and road system. Striations of columbariumshelp to lead pedestrians through a series of enclosed burial rooms and openlawn spaces. Langedijk also features formal accessory structures for visitors toutilize for funeral rituals and ceremonies, as well as everyday use. Structuresinclude: pavilions, seating walls, stairways, balconies and storage facilities.

Karres + Brands Landscape ArchitectsLangedijk, NeatherlandsProject Completed: 2009

langedijkcemetery


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Landjik Cemetery PlanSourced: Karres en Brands Landscape Aerchitects


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ulton Street


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Case Study Take-a-ways:1 Establish a voyage or a procession

Figure 21: PWP Landscape Architects


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SECTION 2:Site The search towards the discovery of a concept began withan analysis of the existing and historical conditions of thesite. This was done through photography, vigorous study ofhistoric maps, recorded stories, and observation of materials,textures, colors, cemeteries, and vegetation throughoutColumbus today Moreover on the ground analysis was


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Ri d l

PorterdaleCemetery

East PorterCemetery

LinwoodCemetery


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History of COlumbusColumbus, like most metropolitan cities, is an eclectic collection of urbaand zones of transition. Founded in 1828, Columbus is positioned on a blthe Chattahoochee River. Situated in a valley, 100 miles southwest of Atlantan abundance of natural resources due to its location on the fall line. The Columbus across the hills of the Piedmont plateau and the at terrain of theFor this reason, the city fauna and terrain change drastically in North and SGiven its resource diversity and other emblematic cultural shifts, the city hamunicipality dependent on industry (textile and shipyards) to one that values

arts, and performing arts providing an interesting testing ground for landsc

Providing its distinct historical signi cance and its colorful culprovides wonderful examples of the different cemetery typologiesSouth Columbus has six cemeteries including: a slave cemetery, Porte(hi t i ll Af i A i C t ) E t P t d l C


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Site Con

RiverdaMarket318 10th A

Columbus


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Site History The site currently operates as a ea market, and hosts a collecmaterials that have the potential to be reused and recycled for fAlready established as a historic, social, and economic destination pthe site offers many opportunities and possibilities for the design of

Throughout the course of the project, the selected site has been questiontimes due to its signi cance for current residents. Is it socially responsiblcondition of a site that is full of life; only to replace it with a landscape


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existin

East Porterdale Cemetery

Riverdale Cemetery

RiverdaleMuseum

ea Market


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[View from Victory Drive looking towards the site. ]


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Columbus Cemeteries UnearthedColumbus, like most metropolitan areas, is a composite of form. As thepopulation of the city expanded, thrived, and departed, so to have the size oftheir cemeteries. The city of Columbus maintains four city-owned cemeteries:Linwood, Porterdale, Riverdale, and East Porterdale. As a whole, the cemeteriesare over 120 acres and are maintained by city employees and inmate crews. Thei i ibl f i d i f d d hill i


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This collection of imagestates of Columbus fo[Row one illustrates the conditions cemetery, established in 1828. When thlacked traditional structure - families wones to rest where they saw t. However, aimplemented now reected in the lawn cfeatures tall monuments, stone carvings

[Row two depicts the conditions of Porterd


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SECTION 3:Schematic Design: The search for a main concept was discovered through adynamic and iterative process of rapid design investigations

that looked at a range of possibilities and designconcepts. This research consisted of three key designinvestigations that explore different ways of addressingthe issues that motivate this project: new technologies,


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Investigation ONe The aim of this investigation is to reconnect the 21st centurythrough revealing the temporal qualities of death by spamorality in such a way to suspend a new set of relations, proviexperiences, and opportunities to the life of the cemetery and t

h h d b h h d

Deadland as an image of mortalit The purpose of this investigation was to test how a Deadland could re-imaginetraditional themes of mortality in cemetery design and act as an element of


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traditional themes of mortality in cemetery design and act as an element ofcommunity design. Themes explored included: re ection, ephemerality, time, andconnection to the physical world.


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take aways:

diversifymemor a z

ep emeraconnect onsare essent

design intentionsquest on

orta ty

rede neco um ar u

model

rede ne cemeteryconversation about

deatplaces to gather

uneral home location

construct ecologyrenewa p antingstory telling

funeraneeds

on

unctionalult

as esu e usec

an additive tomaterial

mater aare ey

respond to

mu t e


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accessory structure

memorial mou

e r d a l e

C e m e t e r y


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re ective roof

ar re ective pools

r y

re purposed structures

p u

b l i c s p a c e

R i v e


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Investigation Two: This design explored the form of the Deadland through a series oinvestigations in which the overall function and structure of the Dwas discovered. The explorations include: Deadland as cemetery Deadland as cemetery, and Deadland as memorial. Altogether, the

d h l d d d l h

Initial Condition: market remains open, scatter gardens arell d f l h h

Deadland as Cemetery & Market


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strategically inserted, so funeral practices such as the procession new rituals like scattering loved ones ashes can occur in a publicarena.

respond to:

take aways:

existingmarket

conditions

marketcan be

phased out

design intentions

elongateundgr

lanrespo

to trends ofinternment

places to gathervendor locations

construct ecologylocal economy

story telling


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Initial Conditions: market closes, structures are reused formemorialization linear gardens are strategically inserted for fune

Deadland as Cemetery


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memorialization, linear gardens are strategically inserted for funepractices, scattering ashes, and to collect storm water.

respond to:

take aways:

diversifyorization

newrituals areneeded to

grieve

rivacyrede ne

columbarium

model

places to gatherfuneral home location

construct ecologyrenewal plantingstory telling

cessa

meu eralnee

neralneeds

design intentions


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Initial Condition: market closes, materials on site are reused forl l d l k h

Deadland as Memorial


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memorial sculptures, structures are used as memorial workshops

respond to:

take aways:

materialreuse

Ritual:participationin landscape

design intentions

rivacyrede ne

columbariummodel

places to gatheruneral home location

construct ecologycreation o memorial

story telling

cessa

u eralnee

thres acredplace


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Investigation Three This investigation was developed from the insights derived fdesign investigations. The concept of renewal and environmental revitalizas a way to initiate new rituals into the life of the cemetery. This wutilizing the existing ritual of the funeral procession, and creating new garden and the columbarium veil. The surface of the Deadland ungulates

Memorials in the Landscape:Cremation remains are used as an additive to building material


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BenchesPaversGravelGlassScatter GardeNew Structur

Remains

+

=

plant growth

steel band

niche

y screen

existing steel roof

existing brick foundation

existing concrete foundation

diversifymemorialization

rede ne cemeteryconversation about death

places to gatheruneral home location

respond to


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take awaysActive

part c pat onin ritual

design intentions

vacyre e necolumbariu

mo e

construct ecologyrenewal plantingsstory te ing

funeraneeds

st ngn t onsc

structuresas

onuments oremorialization

res ofuneral

process on

Designs one through three explored the concept of the Deadlain various ways which follow both conventional themecemetery design, as well as, reframe the traditional percepof a cemetery. The investigations suggest that the manipulatof existing rituals and the creation of new rituals which act

engage the participant can result in a new structuring of landscawhich creates an ethereal, memorable, and vivid experiencepedestrians; and still acknowledge the psychological need grief and mourning. These designs have also shown that designthough the lens of ritual and renewal can create momentsseparation, enclosure, ceremony, and support while also creata multifunctional space of scarcity. However, these designs yet to explore the materiality, ecological, phenomenological sensorial experiences of landscape. Further analysis into tpotentials and possibilities is needed in the next design iterati


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scatter garden

tt e r g a r

d e n

t h r e s h o

l d

existing s


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scatter garden

scatter garde

scatter garden

existing structure

existing structure


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SECTION 5:Design proposal

a. utilizing permanent death rituals: funeral processionb. creation of new rituals: columbarium veils + scatter gardens


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Riverdale Market& Lunch Box Museum


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Riverdale

Cemetery

Design Strategiesa. thresholdb. funeral processionb. scatter gardens


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T h r e

s h ol d

g r a v e l p a r k i n

g

grasses

V-1

V-2


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water

existing structurewith veils attached


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Threshold a. an entrance to the cemeteryb an anchor to the cemetery


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Funeral Processiona. the deceased, family members, and others travel from the site of the memoriato the burial site.b. uid: there are multiple routes and experiences, but the motions of desccrossing, and ascending are constantc. structures overall design and provides form for other rituals.

pausing forre ection

moving toward the pain of loss: mentally and spiritually

remembering& recalling

ackrece ve support

pede ianstart ng at ent

returning rom


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V2: View looking East toward Jackson Avenue. Cross section showing inside structures

V1: View looking South toward Riverdale Cemetery

V3: View looking East toward Jackson Avenue. Coss Section of structures and scatter gardens.

V1: View looking West toward Cemetery Drive. View of scatter gardens with repurposed structubackground.


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Scatter Gardensa. return the deceased back to the earth and seeing the transformation of new plab. topographical change for interest in the processionc. provide feeling of enclosure and privacyd. gathering place for ceremony


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Columbarium Veilsa. a part of the new ritual of gardening ones loved oneb. act of participation and seeing the transformation of new lifritual

[family receivesglass urn with aninscription, seed, apacket of organic soilmixed with celluloseand peat moss, andthe deceased ashes]


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[They open the packetof soil, mix in deceased

ashes, and then plantthe vine in the glassurn. A portion of theashes remain athome. ]

[The roots extendwhile the vine growsand evolves. ]

[Over time, the vinebreaks out of the urnand begins to climbthe trellis behind,

intertwining withother plants. ]


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Panel

Column

Post

Beams

Lateral Support

J o i n t sL i g h tS t e e lR o o f

T r u s s e sS y s t e m


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Veil + Trellis sy


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1. Steel Roof 2. Steel Post3. 5mm Steel Rope for Climbing Plants4. Steel Rope Grid5. Concrete Footing

6. Opening iFrame Light7. Memorial 8. Handrail


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[V2:quali

[V2:the cand t

struc


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SECTION 6:Reflections


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ReflectionsIn response to my research question, How can rituals informcemetery design in Columbus, Georgia? the work suggests thadesign a cemetery through the lens of ritual, in such a way, throu

of a Deadland, that will motivate shifts in perception, providepreformative space for ceremony, and enable a multitude of activto occur in what is currently conceived as underperforming spaof renewal through environmental revitalization is a subject whiccurrent trends and perceptions in cemetery design. Moreover, this noto the overall success of this exploration; emerging funeral ritexisting rituals to become more compelling. The proposal utiritual, as well as, the metaphor of renewal of ones loved ones to guoverall design of the Deadland. In this case, the rituals manifestthe physical landscape through changes in topography, threshold, sand columbarium veils; and in a spiritual sense through choreoof re ection. Even though my framework was challenged and edcourse of the project, it is evident that by designing through a lens ocreate a series of designs which are alluring, culturally relevant, In turn could capture the attention and imaginations of viewers athus changing attitudes and perceptions of death in Colu

A missed opportunity within the research project was the decisioncemetery design by means of ritual. If another aspect of rituto guide the project, for instance a different culture, religious proposal would have turned out quite differently. Likewise, it


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List of Illustrations

Figure 1. Rachel, Taylor. 2012. Cemetery Frottage 1 .

Figure 2. Christina, Argo. 2012. Cemetery Frottage 2 .


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Figure 3. Christina, Argo. 2012. Cemetery Frottage 3 .

Figure 4. Peter Walker and Associates. 2013. The National 911 Memorial. Retrieved fromhhtp://www.asla.org/2012awards/images/largescale/512_01.jpg

Figure 5. Karres en Brands Landscape Architects. Retrieved from http://www.archdaily.com/325464/as-burial- eld-karres-en-brands/





Figure 10. Karres en Brands Landscape Architects. Retrieved from http://www.archdaily.

com/325464/as-burial- eld-karres-en-brands/

Figure 11. Jeroen Musch. Retrieved from http://www.archdaily.com/325464/as-burial- eld-karres-en-brands/



Figure 14. Karres en Brands Landscape Architects. Retrieved from http://www.landezine.com/i d h /2011/01/l dijk b k b d l d hi /

index.php/2011/01/langedijk-cemetery-by-karres-en-brands-landscape-architecture/

Figure 17. Karres en Brands Landscape Architects. Retrieved from http://www.landezine.com/index.php/2011/01/langedijk-cemetery-by-karres-en-brands-landscape-architecture/


Fi 19 K B d L d A hi R i d f h // hd il


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Figure 21. Peter Walker and Associates. 2013. The National 911 Memorial. Retrieved fromhhtp://www.asla.org/2012awards/images/largescale/512_01.jpg

Figure 22. Peter Walker and Associates. 2013. The National 911 Memorial . Retrieved fromhhtp://www.asla.org/2012awards/images/largescale/512_01.jpg

Figure 23. Google Earth. 2014. 32 2858.33N 850233, 40W Elevation 400ft. Eye alt 10 mi

Accessed April 28, 2014

Figure 24. Google Earth. 2014. 32 2706.66N 84.5835.49W Elevation 250ft. Eye alt 1645 Accessed April 28, 2014

Figure 25. Rachel Taylor. 2012. Cemetery Frottage 2


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Figure 25: Cemetery Frottage 2, Courtesy of Rachel Taylor


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McCarthy, John P. 2008. The Archaeology of Community Identity in the Past andRemembrance in the Present. American Nineteenth Century History 9 (3) (September):305314. doi:10.1080/14664650802288423. http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=34399506&site=ehost-live.

Memento Mori, The Funeral. 2013. Accessed December 9. http://cmp.ucr.edu/exhibitions/memento_mori/funeral.html.

Nassauer, Joan Iverson. 1995. Messy Ecosystems, Orderly Frames. Landscape Journal 14 (2):


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Nassauer, Joan Iverson. 1995. Messy Ecosystems, Orderly Frames. Landscape Journal 14 (2):161170. http://lj.uwpress.org/content/14/2/161.short.Osment, Frazer. 2002. A Matter of Context [regional Identity]. Landscape Design (309) ( 41)1618.

Seligson, Hannah. 2014. An Online Generation Rede nes Mourning. The New York Times,March 21. http://www.nytimes.com/2014/03/23/fashion/an-online-generation-rede nes-mourning.html.

Sloane, David Charles. 1991. The Last Great Necessity: Cemeteries in American History.Baltimore: Johns Hopkins University Press.

Srlin, Sverker. 1999. The Articulation of Territory: Landscape and the Constitution of

Regional and National Identity. Norwegian Journal of Geography 53 (2/3) (October): 103112. doi:10.1080/00291959950136821. http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=4844690&site=ehost-live.

The Cemetery: A Highly Heterotopian Place. 2013. Berfrois. Accessed November 24. http://www.berfrois.com/2012/06/contemporary-cemeteries-and-heterotopia/.

Uslu, Aysel, Emin Bari\cs, and Elmas Erdo\ugan. 2009. Ecological Concerns over Cemeteries.African Journal of Agricultural Research 4 (13): 15051511. http://www.academicjournals.org/aJaR/PDF/pdf%202009/Dec%202/Uslu%20et%20al.pdf.

Wasserman, Judith. 2002. Memory Embedded. Landscape Journal 21 (1): 190200. http://lj.uwpress.org/content/21/1/190.short.

Wasserman, Judith R. 1998. To Trace the Shifting Sands: Community, Ritual, and theMemorial Landscape. Landscape Journal 17 (1): 4261. http://lj.uwpress.org/content/17/1/42.short.

White, Nancy Marie, Lynne P Sullivan, Rochelle A Marrinan, and Florida Museum of NaturalHistory. 2000. Grit Tempered: Early Women Archaeologists in the Southeastern United States.Gainesville; [Great Britain]: University Press of Florida.


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