Owhiro Crematorium

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The Owhiro Crematorium

An architectural representation of the man-made demise of a fragile landscape

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Contents Research Field

Research Question

Statement of Research Methodology

Synopsis

Academic Context: Key Texts and Precedents

Findings:

Death in the Social Context

Historical shift

The funeral home

The cemetery and the tombstone

Symbolic exchange and death

Intellectualisation of the denial of death

The connection between imminent consciousness

and our bodies

Pessimism surrounding death and a pandemic

Groundless, earthbound

Ecological Implications

Change is the only constant

Treatment of ground

Dark space

Architectural Precedents

The relation between the land and

cemetery/crematorium and the body with reference

to Asplund’s and Lewerentz’s works.

Places that induce contemplation

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The connection between repeated rhythmical

movement and self

The relation between the land and man with

reference to Miralles and Pinos’s Igualada

Cemetery

Concept of time

The importance of water and tides

Sky and horizon

Physical properties of light

Turrell’s Roden Crater

Architectural Argument

Significance of Research Outcomes

Further Research

References List

Bibliography

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Research Field This project is an architectural expression of mortality.

Research Question

How can architecture force death back into social consciousness and

challenge us to re-evaluate our place in the cosmos? Moreover, how can

architecture transgress the exclusion of death from society as a fundamental

environmental process?

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Research Methodology

The contextualisation of death in contemporary society and an architectural

expression of the fragility of the Owhiro landscape was investigated

through:

• Research conducted during visits to Wellington cemeteries and

funeral homes to investigate current practice and how it relates

to the past and future. Interviews were conducted with cemetery

workers and a funeral director.

• Extensive reading on the history of death in society, mourning

and fear within society. In addition to this, analyses of

influential crematoriums, landscapes of contemplation, tombs

and memorials and architecture projects concerning death were

conducted. (refer to bibliography)

• An exposed and ever-changing site, which had previously

functioned as a quarry and consequently had a resonance of

death, was deliberately chosen.

• The effects and limitations generated on the site by temporality

and motion were evaluated and tested using film, modeling and

drawing on the site.

• Sections, site plans, and perspectives from the eyes of the

mourner were then explored in relation to rituals and rhythms

extracted from readings.

• A crematorium in response a potential pandemic crisis was

considered as a vehicle to discuss the exclusion of death from

contemporary Western society.

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• The architectural programme was explored in response to the

recreational purposes of the site and the effects of flux of the

weather and tides on the site allowing it to recreate itself.

• The dormant function of the architecture was explored as way

of communicating a potential death threat.

• Consideration was then given to the role of the dormant

building and whether it needed to have another function to draw

an audience.

• The public’s interpretation of this dormant function was

formulated in terms of a student learning process about the

exclusion of death from contemporary society. The design

deliberately encourages students to respond to the architecture,

initially at micro and later at macro scale.

• The crematorium’s different possible users and visitors such as

boaters, surfers, fishermen, walkers, ecologists, bird watchers

and their discursive rituals were discussed in accordance with

their different purposes.

• Design accommodation was also allowed for mass mourners.

• The crematorium’s role as a response to the man-made demise

of the Owhiro environment was discussed and explored as a

deconstructed landscape. Moreover, the overbearing scale of

the cliffs, rugged coast-line and sea was considered as the

pivotal attraction of the crematorium audience.

• Consideration was then given to how architecture could reflect

man’s previous attempts to control the landscape revealing its

volatile characteristics.

• Discussion of how the building would be activated in the event

of a pandemic took place.

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Synopsis

This project emphasises architecture’s role in the process of dealing with the

denial and physicality of death. It encompasses the contemporary

worldwide preoccupation with the possible threat of a pandemic, providing a

forward thinking response to a complex, unfamiliar scenario hitherto

unexplored by mainstream architects.

My main objective in designing the Owhiro Crematorium is to question the

temporary nature of our existence through a representational commentary on

man’s control of the natural environment. My exegesis addresses how

architecture can comment on the former quarry’s destruction by connecting

the mourners, students, recreational users such as boaters, surfers,

fishermen, walkers and ecologists to the fragility of the landscape while

challenging them to think about their own vulnerability and mortality. The

crematorium is intended to encourage engagement with the site and the

opening up of multiple interpretations and reactions.

The Owhiro Crematoirum also addresses different states of concealment

through its programming within the landscape and the importance of the

earth and its unknown qualities.

My research has lead to investigations of:

• changing Western attitudes to death and the deceased

• contemporary reduction, clinicalisation and impersonalisation

in Western attitudes to death and social threats

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• the importance of marking a historical moment to provide

continuity with the past and the future

• the representation of architecture to reveal fragility/truth in the

natural elements (the hierarchy of the programme to depict the

implications of man’s impact on nature)

• the importance of ground as an alternative horizon of revelation

• death involving the immersion in the earth

• how we can connect with the larger forces/cosmos

• concepts of; void, dark space, disorientation, time, water, sky

and light.

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Academic Context: key texts and precedents Key texts include:

• Aries, Philippe: The Hour of Our Death. New York: Alfred A.

Knopf. 1981

• Bachelard, Gaston: The Poetics of Space. Massachusetts: Beacon

Press. 1969

• Baudrillard, Jean: Symbolic Exchange and Death. London: Sage

Publications. 1993

• Constant, Caroline: The Woodland Cemetery: Towards a Spiritual

Landscape. Sweden: Byggforlaget. 1994

• Vidler, Anthony: The Architectural Uncanny. Massachusetts: The

MIT Press. 1992

• Zabalbeascoa, Anatxu: Igualada Cemetery Enric Miralles and

Carme Pinos. London: Phaidon Press Ltd. 1996

Issues explored through reading and viewing:

• Death: historical, social, metaphysical, monuments and architecture

of death

• Crematoriums, cemeteries, funeral homes

• Phenomenology of landscape

Post disaster evaluation of treatment of corpses

• Pandemic control

• Social fear and pessimism surrounding death and a pandemic

• Speed of society and technology

• Concepts of time and water

• Architecture of darkness

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• Programme and landscape

• Dichotomies such as opaque versus transparency, death versus life,

fragility versus permanence, sentimental renderings versus atavistic

pagan rituals, humanity versus nature, light versus dark

• Representation of the infinite within architecture

• Representation in the discussion of time, space and movement

• Representation of death in art and cinema

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Death in the Social Context: Historical shift in the acceptance of

death

Since the earliest documentation of Western mourning practices and rituals,

there have been some significant shifts in issues surrounding death and the

location of the dying and the deceased. According to Aries, from 5AD to

the eighteenth-century, death was a public event and mourning was an

ostentatious display. During this time cemeteries were located inside cities

and were also used as places for picnics, drinking and sleeping.

During the European Humanist Renaissance around 1491, there was a

romantic acceptance of death in the sense that rituals were organised by the

dying themselves “and they departed easily, as if they were moving into a

new house.”1 There was an acceptance in the lamentation between the

dying person and the survivors. During this period however, through habit,

education and the death ritual, the notion of death became influenced by a

series of prejudices which resonate today. From the mid-twentieth century,

there was a steady change in attitudes to death in some Western consumer

societies.

1 Aries, Philippe: Western Attitudes Towards Death. Baltimore: The John Hopkins

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Figure one illustrates shifts in death place and body disposal.

Figure one

i) ii)

iii) iv)

i) Death in the home up until the early twentieth century

ii) Charnel (vault): used to for the decaying process prior to bone displays in

ossuaries. These were juxtaposed with markets and recreation areas.

iii) Mid twentieth century onwards, institutional death

iv) Cemeteries in the outskirts of the city

As figure one shows, there has been a progressive historical separation

between the living and the dead. There has also been a gradual shift to a de-

ritualisation and a streamlining of death related ceremonies and mourning.

In the twenty-first century, in most Western societies, death is down played

and the elderly have for the most part become marked as ‘carriers of death’

and have been moved to the periphery of society. Sociologists such as

Kamerman comment on the insignificance of dying saying; “As our life has

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little consequence to our community, so too has our death.”2 Institutional

bureaucratic structures intensify this unimportance and irrelevance.

Negativity and discrimination against the aged and death are prevalent in

contemporary society. In 1997, Baudrillard, compared retirement with the

third world, which is segregated and placed in a situation of “economic

parasitism.” Reflections such as these reinforce a major shift in the

treatment of the elderly as carriers of death, which has occurred over the last

century.

These shifts in attitudes towards the acceptance of death are closely related

to this preoccupation of the storage of the deceased and the death site. Most

people die in the clinical, impersonal environment of the hospital in the care

of strangers. This reduction in the public witnessing of deterioration of the

dying combined with an alien environment dedicated to work, routines and

disposal, creates a comfortable concealment of the process of death.

Baudrillard aptly states: “Death like mourning, has become obsene and

awkward, and it is good taste to hide it, since it can offend the well being of

others.”3 As part of this concealment process we consequently find

ourselves artificially extending the lives of many beyond the point at which

they would have died naturally.

In contrast to this artificial extension of life and treatment of death as an

obscenity, this project will reinstate the social acceptance of death by

2 Kamerman, Jack: Death in the midst of life: Social and cultural influences on

death, grief and mourning. Prentice Hall. 1998:9

3 Baudrillard, Jean: Symbolic Exchange and Death. London: Sage Publications. 1993: 182

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placing a waiting architectural representation of death in an every day

environment used for recreation, leisure and education.

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Death in the Social Context: The Lynchgate Funeral Home

In Wellington funeral homes, death is shielded from the mourners and

fabricated into a misconception of domestic comfort. Décor, roses and

ornaments are all used to simultaneously create an illusion of hygiene and

familiarity. The company provides all services ranging from the pick up to

the cremation of the corpse. This highlights the contemporary preoccupation

with prioritizing convenience over death. The director of Lynchgate Funeral

Home stated that he considered himself a glamorous version of a rubbish

collector saying: “We’re just glorified garbage collectors really.”(July 27.

2006) Mr Patterson markets his business and establishes rapport with his

clients by using phrases such as: “Mother nature’s a wonderful thing.”

Thus, the client is able to abnegate responsibility for dealing with the

practicalities of a relative’s death. Paradoxically, the whole morgue

scenario is devoid of any association with the natural environment, right

down to the artificial flowers and coffins containing corpses lined up in the

garage.

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Figure 2: Te Aro Funeral Home

i) ii)

iii) iv)

i) Entrance-Funeral parlor is made to seem like the extension of a home.

ii) Interior with paired seating inconducive to conversation and spending long

periods of time.

iii) Curtains to screen out the outside world.

iv) Artificial comforts such as lollipops and soft toys to create a sense of familiarity.

Furthermore, the employees derive satisfaction from reconstituting and even

enhancing corpses. This practice emphasises the artificiality which we

impose on the deceased to conceal the face of death for our own comfort.

This paradox in what is perceived to be natural is highlighted by Baudrillard

in his description of: “A faked death, idealized in the colours of life”4 In

contemporary New Zealand funeral practice death is perceived by many to

4 Baudrillard, Jean: Symbolic Exchange and Death. London: Sage Publications. 1993: 181

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be shameful, ugly and obscene, naturalized in a stuffed simulacrum of life.

We habitually conceal corpses dressed in their Sunday best while hiding

their caskets with flowers.

In stark contrast to this and the other Wellington franchises, which do not

accept death as part of the life process, the Owhiro Crematorium will

acknowledge that death is a continual process. Furthermore, in contrast to

the divestment of death to roles of convenience, concealment, and artificial

comfort devices, it will bring the physical exploration of natural ecological

elements such as the sea, horizon and steep hills to the fore.

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Death in the Social Context: The cemetery and the tombstone

Wellington cemeteries provide a further reference point in terms of a

changing approach to the housing and the location of the dead. Principally,

they provide visiting places of consolation to mourners and enable them to

feel reunited with the deceased. We need to be able to visualize a death

place if we cannot actually go there. While mourning stones advertise grief,

provide a physical stamp on the earth and are used as monuments to remind

the living to make provision for the afterlife in the traditional corners of the

cemetery, the newly established corners have been reduced to hygienic,

ecomical demarcations devoid of headstones or shadows. This is illustrated

in Figure 3.

Figure 3: Karori Cemetery

i) Traditional Corner ii) Area Under Current Development

iii) Mourner interacting with the tombstone

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The Owhiro Crematorium accentuates the importance of both life and death

while not denying the uncertain aspects of mass destruction caused by a

pandemic. It will deemphasise the clinical aspects of death evident in the of

Wellington cemeteries through the use of cuts into the land to create depth

within the sky, capture shadows within the land and allow for sea flooding

into the memorial spaces. It will provide a mark for the pandemic which

will allow mourners to find a means of expression and facilitate

communication in what has occurred, or what could occur.

The importance of a specifically dedicated place to mark a historical crisis

such as a possible future pandemic, help us reflect on the evolution of our

society. Unless construction such as the Owhiro Crematorium is built to

cater for disasters of this nature, there will be no sense of continuity with the

past or link with the future. Recent global calamities such as the Sri Lankan

Tsunami in 2004 and New Orleans 2006 typhoon, have demonstrated that

inadequate storage and disposal of corpses, not to mention an architectural

representation of remembrance, has resulted in much psychological trauma

and illness. In a disaster scenario of these proportions, the Owhiro

Crematorium will provide a poetic, humanitarian response by catering to an

individual’s journey as well as mass ceremonies to provide a sense of

continuity and community. Consistent with Aries’ theory that the cemetery

creates “a microcosm of the whole society by presenting those who have

died,”5 the Owhiro Crematorium reflects changing contemporary global

attitudes to death and social threats.

5 Aries, Philippe: The Hour of Our Death. New York: Alfred A. Knopf. 1981: 542

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Death in the Social Context: The distancing of death: social context

Contemporary representation of death is derived from the separation of

meaning from the actual event and value. In some Western societies, death

has become biological and has been and deprived of its symbolic meaning

and implies an end. With no clear concept of a symbolic end, death is left

undefined by many Westerners. In this lack of definition, death is treated

like a myth because it is discussed in terms of simulacra and scientific

context. In accordance with this proposition, the waiting period of the

Owhiro Crematorium will not only provide a specific place to allow

individuals to connect with the infinite space of their consciousness but will

more importantly be a catalyst for the anticipation of death.

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Death in the Social Context: The connection between our minds and

our bodies

The significance of contemplation and space within the mind allows the

individual to accept death as a process. Architectural representation can

reflect our grasp of imminent consciousness through the hierarchical

positioning of ground and physical temporal indicators. Baudrillard asserts

that this imminent consciousness is more importantly localised in the body

when he states: “This death…must be conjured up and localised in a precise

point of time and place: the body.”6 Daily routine, convenience and

dependence on simulacra desensitise our bodies, which as extensions of the

ground are important vehicles for registering decay of the body and

weathering of the land. Prevention against patina, oxidisation and dust

objectify our bodies in an abstract immortality, which is transformed into a

denial of death. Pichler’s drawings of the ‘House next to the Smithy’ reflect

the body’s blending into the earth7, while Barthes compares the cycles of the

seasons to the physical deterioration in our bodies.8 The Owhiro

Crematorium will emphasise this physical connection between body and

ground both through the physical journey through the site and changing

spatial sequences in response to the force of the wind and the sea.

6Baudrillard, Jean: Symbolic Exchange and Death. London: Sage Publications: 1993:159 7 Lewis, Diane: Walter Pichler Drawings, Sculptures, Architecture. St. Margarethen: Samson Druck. 2000 8 Barthes, Roland: Incidents. California: University of California Press. 1992: 6-7

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Death in the Social Context: Pessimism surrounding death and a

pandemic

Current preoccupations and fears surrounding the consequences of a

pandemic should not inhibit us from exploring the links between actual

events and perceived ways of dealing with disasters. Having said this,

designers and social planners cannot entirely disregard a pervasive social

pessimism. Bailey emphasises that feeling pessimistic is not some kind of

aberration and that “If we can see good reasons for the dominance of

gloomy views of the future the risk of increasing the sense of foreboding

should not inhibit us from linking what we think and feel with what we can

see happening.”9 In the Owhiro Crematorium, acknowledgement and

acceptance of a place within our history and future will result in a

redirection of this public fear of the unknown and death into something

more positive or at least without stigma.

The representation of the crematorium comments on the condition of social

pessimism and degradation of the land. It is inserted into the ground and

represents itself as a fragmented void to the public. The crematorium’s

internal hierarchical choreography is constructed through various states of

concealment, revelation and permanence to the students, individual and

mass mourners. The building will be partially in dialogue and partially in

tension with its surroundings.

9 Bailey, Joe: Pessimism. New York: Routledge Inc. 1988:vii

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Ecological Implications: Change is the only constant

Related to my emphasis on man’s demise of the landscape, the vulnerability

of the quarry and coastline to erosion is utilized to create a particular

architectural representation of nature and death.

The meaning conveyed when architecture is used to reveal and imply certain

intrinsic conditions on a place such as mortality is discussed by Miralles as

accepting the magmatic, fluctuating nature of the environment by

intensifying architectural (built) relations but without trying to resolve them

within a constant framework. This architect emphasises the importance in

the recognition of flux by stating: “We live in a reality in transit, what was

regarded as solid…now become revealed as fragile and unstable and that

change is the only constant.”10 Consequently, the disclosure of the

vulnerable, volatile earth through architecture demonstrates a multiple

reality where architecture is not perceived to operate as a stable place of

reference. This vulnerability and volatility have been taken into account in

the design of the Owhiro Crematorium which will respond architecturally to

erosion of the site. Furthermore, rather than operating from a fixed series of

references, the Owhiro Crematorium will not aspire to resolve the unstable

nature of the environmental site nor avoid contact with the ground. The site

encapsulates the paradox of beauty forged from the environmental

destruction of the past effects of quarrying. We find ourselves in a

disintegrating landscape but take no responsibility for its destruction as

revealed in figure four below.

10 Paez, Roger: A Marine Kind of Land. Quaderns d’arquitectura i urbanisme. n. 243: 75-79

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Figure four

Open pit copper mine at Butte, Montana, 198911

Such a break down of the relations between architecture, object and

landscape enables the architecture itself to become the environment which is

continually in a state of transformation. The continuity of these elements

within the Owhiro Crematorium is integral in establishing the mourning, and

recreational area as an active landscape subject to the life/death processes.

The architecture of the dormant crematorium not to visually impair these

processes will challenge the mourner, recreational user and student in their

understanding of the environment as a series of vulnerable processes.

11 Paez, Roger: A Marine Kind of Land. Quaderns d’arquitectura i urbanisme. n. 243: 75-79

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Ecological Implications: What is ground in the context of the Owhiro

Crematorium?

Ground has many levels of reading, it is not neutral. It is a repository of

history and memory which is brought to life in through architecture. In this

project, the architectural representation of ground undermines the structure

through the insertion of the crematorium into the earth, which provokes

awareness of the ground beneath us. The magnitude of ground is stressed

by Heidegger in his Grundgedanke (Thoughts on Ground) who highlights

that ground is concealment and therefore truth saying: “…we know that

belonging to our ‘truth,’ in the sense of the ‘world,’ is an indefinitely large

totality of other possible ‘truths,’ alternative horizons of disclosure, ‘views’

disclosing other ‘sides’ of our world of beings…”12 This tendency to

believe only what is visible is challenged by dark spaces within the

inhabitable structures, submerged crematorium and through the inversion of

ground and non-ground to prioritize the ground in the life-death process.

Humans have always been careful to connect with the ground visually and

propioceptively due to artificially built housing and city environments and

this connection has a direct bearing on pavement design. We connect

visually and psychologically to an area surrounding our feet.

12 Young, Julian: Heidegger’s Philosophy of Art. Cambridge: Cambridge University

Press. 2001

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Williams, who studies interior pavements argues that: “pavements are

central to mankind’s architectural—and intellectual—development.”13 The

architectural representation of the ground plays a crucial role in connecting

the observer to all surrounding structures like the vast landscapes of the

Owhiro Crematorium.

As a civic and public space which is subject to contemplation and where the

mourners will have predominantly downcast vision, it is integral that the

Owhiro Crematorium incorporates the pathway as part of the fractal design

hierarchy so that this connection with the surrounding natural environment

such as the steep hills, challenges public perception of the human demise of

the landscape. To achieve spatial coherence and connection to

surroundings, progression in scale has been employed to create hierarchical

linking

The Owhiro Crematorium uses also use fractal geometry derived from the

surrounding environment in various scales throughout the active parts of the

building, ground paving and more refined built elements which come into

bodily contact such as seats. The scale of ground paving also responds to

the number of people intended to use that pathway such as individual

mourner, mass mourner, recreational user, or student. For example, the

ground vocabulary for the mass mourners speak of the direction of the

journey, which leads through the cardinal points of the Owhiro Crematorium

13 Williams, Kim: Pavements and Hierarchy, 2000. Http://www.nexusjournal.com/Miki-Sali-Yu.html

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Dark space

In contrast to light spaces, which are perceived to be healthy, rational and

moral, dark space is connected with the unseen, the diseased instrument

which damages society. Thus it can be said that the provision of dark spaces

deepens structure through the removal of the visible.

In his essay Dark Space, Vidler comments that the movement of dark space

enables the building to become a backdrop. He discusses Boullee’s concept

of explored dark spaces through the submersion of parts of buildings. The

latter was attempting create stark contrasts between light and darkness. He

was conscious of how his work would look in the dark. Boullee was

impressed by shadows, the effect of mass objects detached in black against a

backdrop of extreme light. To him, this is what nature offered in mourning.

He formed a “buried architecture,”14 which was low and compressed in

proportions and used stripped walls devoid of ornamentation to speak of the

melancholy of mourning.

In the Owhiro Crematorium, dark space is used for mourners and students to

discover their connection to the landscape. Rather than relating to the

diseased and fear associated with death and the pandemic, dark spaces

represent opportunities to gain insight. This repression of the visible

connects with perception and privileged access to truth.

14 Vidler, Anthony: The Architectural Uncanny. Massachusetts: The MIT Press. 1992: 170

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Architectural Precedents: The relation between the land and

cemetery/crematorium and the body with reference to Asplund’s and

Lewerentz’s works.

In the design of Asplund’s and Lewerentz’s 1916 Malmo Easter Cemetery,

the inherent character of the landscape has been preserved to exploit its

natural monumentality the ridge was used as a natural boundary to separate

burial zones and was lined with chapels, mausoleums and a crematorium.

The ridge’s visual prominence is used to amplify the mourner’s sense of

orientation in combination with layers of planting to contribute to a feeling

of removal from the realm of daily life.

This manipulation of landscape is also evident in their 1919-1940 Woodland

Cemetery to emphasise death as a natural event involving immersion in the

earth. To connect mourners to the larger surroundings, the dramatic design

and sequencing of points of threshold, focus on where mourners will be

looking, moving and what they will be touching.

This drama can be interpreted from drawing a section through the

crematorium to the burial mound. While at one end, a body is dropped

beneath the floor and cremated underground, the other end of the section

curves up over a burial mound. These two points are held in tension by a

pond in the middle, which serves as a moment for reflection and held time.

The pond amplifies the feeling of silence, interlocks the earth and the sky

and dematerialises its surroundings in its reflection. This section depicts a

clear cyclic gesture through the planning and integration of the building

within the landscape.

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The light and darkness perceived by mourners on the pathway varies

according to whether they are ascending or descending due to narrow slits of

space between tall forests. In contrast to these narrow pathways, there are

expansive landscapes where the ground is raised. This creates possibilities

for numerous traverse routes.

The focus on what the mourners will touch is evident in the built domestic

environment, where door handles are placed at eye level. Seats which curve

out from the ground and the wall, are employed to physically reveal what is

supporting the mourners. Wide entrances designed to the scale of a coffin,

emphasise absence thus the ritual of the carrying of the corpses is evident

even though the people are not there.

Figure five

Narrow pathways15

15 Krinke, Rebecca: Contemporary Landscapes of Contemplation. New York: Routledge. 2005: 12

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These formal relations between the mourner and their vision, journey and

physicality, create the idea of absence; link between the body and mind and

connect the self with the greater regeneration in the earth.

The Owhiro Crematorium creates a connection between body and mind by

revealing what is physically supporting the bodies of mourners, students and

recreational users. Similar effects and impacts will be achieved: through the

use of ordering devices, the architectonic arrangement of trees and hedges,

clearings, the treatment of light, hinge points and through hierarchy in

change of scale.

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Places that induce contemplation

Writers such as Bachelard in The Poetics of Space16 discuss the fundamental

human need to find places where we can connect with the infinite. Cosmic

cycles encourage us to think about the temporality and meaning of our

existence and the essential ties between man and nature. Paradoxically, the

very places we seek are often the places we destroy as is evident in the

quarry scenario.

Writers like Krinke emphasize that such contemplation is not just visual,

that it is experienced in layers connected with visual, educational, body

orientated, intellectual, physical and emotional understanding. What is seen

and experienced initially merges into a different consciousness. In her

analysis of the Woodland Cemetery as a site of contemplation, the

regenerative power of nature was found in the visual interlocking of the sky.

This was achieved through the use of trees to connect the viewer to the sky,

for framing, masking and for marking out cardinal points.

16 Bachelard, Gaston: The Poetics of Space.Massachusetts: Beacon Press. 1969: 183-210

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Figure six

View from Monument Hall in the Woodland Cemetery17

In contrast to this carefully maintained landscape (as shown in figure six),

the Owhiro Crematorium reflects the natural decaying and weathering

process.

As a site of contemplation, readings of the juxtaposition of each stand point

such as Monument Hall and Meditation Grove at Woodland cemetery were

found to intensify their interplay. The views from each of the standpoints,

conduct a physical and visual connection between the mourner and the

surroundings as a backdrop. This instills a sense of small scale on the

mourners, which paradoxically creates a sense of familiarity.

17 Krinke, Rebecca: Contemporary Landscapes of Contemplation. New York: Routledge. 2005: 11

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A sense of orientation within the cosmos in the Owhiro Crematorium is

emphasised through deliberately fragmented spacing of chapels, memorial

spaces, entrance, sea platforms and a crematorium. The division of these

spaces allows contemplation of specific moments within the whole process

of mourning. Furthermore, these built elements will be subordinate in scale

and structure to the surrounding hills and ground.

Stairs within the landscape intensify the crescendo towards the main

standpoints in the area taking the mourner and student further from their

everyday world. They compensate for the climber’s weariness as they

ascend to the grove by decreasing in height and increasing in depth and they

become larger as one nears the top. This rhythmical use of stairs is used to

relate on a human scale to hills surrounding the Owhiro Crematorium.

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The connection between repeated rhythmical movement and

self

The use of repeated, rhythmic movements can heighten emotional states.

Twentieth century theatre designer Adolphe Appia experiments with

ritualistic planning of performance and investigates the origins of mortality.

This type of ritual is used to separate the participant from previous

environments, through disorientation. According to Innes, this

disorientation “…opens spectator’s minds by breaking down conventional

responses.”18 Physical disorientation in the Owhiro Crematorium is

intended to motivate mourners to explore concealed aspects of the

environment to reveal the degraded landscape.

The Owhiro Crematorium addresses the relation between the movement of

the human body through time and rhythmic spaces through multiple

stairways, numerous staging platforms, which stagger up the hill and

stairways leading into the water. The walkways will work on both the outer

disorientation and inner re-orientation. Moreover, these rhythmic patterns

connect with the incoming and outgoing tides, the eroding vulnerable nature

of the hills and ground and the sky’s luminosity.

18 Innes, Christopher: Avant Garde Theatre: 1892-1992. New York: Routledge Inc.1993: 53

35

Architectural Precedents: The relation between the land and man

with reference to Miralles and Pinos’s Igualada Cemetery

The importance of the relation between programme and environment cannot

be understated, especially in the Owhiro Crematorium, due to the dormant

nature of the construction and its active function as a commentary on the

degeneration of the landscape. Special attention has been given to this

connection due to its function as a place of reflection in an unstable, semi-

isolated environment. Miralles and Pinos’s Igualada Cemetery reflects the

importance of the use of programme to define both man-made and pre-

existing traces in natural landscape to communicate the passage of time.

This is highlighted in the Igualada Cemetery through its awaiting

intervention of the changing environment. With time, weathering, covering

and eroding allow the man-made to become part of the natural landscape.

The appreciation of natural processes is described by Miralles as “An

optimistic reminder of the continual transformation of nature and matter.”

Thus this transformation of matter allows the built work to merge with the

earth without being subsumed by it and consequently able to exist in its own

right as another layer of the land.

The relation between the design and the programme of the Owhiro

Crematorium communicates the passage of time with in its dormant

position. The active environment will be covered with planting and sand,

which will erode with water, sun, wind and eventually be completely

submerged. The implication of possible death in an environment, which is

36

primarily to challenge our connection to the external environment, allows

life to subtly pervade the territory of the possible dead.

Figure seven

View of the opening leading to the entrance area.

In the Igualada Cemetery, the connection between figure and ground is

conducted through burial niches, pathing, ramps, decks and concrete

benches evident in figure seven. These construction elements facilitate the

spatial exploration of relations such as man-architecture, architecture-site,

site-landscape and thus, man-landscape. The Owhiro Crematorium also

employs built elements and excavation to create spatial movement to

encourage mourners, students and recreational user s to explore the

aforementioned connections.

37

Concept of time

Time and death are inextricably linked in architecture whether through the

aging of materials, rhythmic rituals or permanence of form. Khronophobia,

the fear of time, is a twenty-first century phenomenon. This anxiety

originates from an obsessive rejection of aging, decay and death. The effect

of this is that it undermines the ‘ground of being.’ Objects are replaced

before they have acquired any trace of age or use and some buildings for

their timeless presence. The other side to this fear is the fear of life. As

time loses its depth and resonance in the archaic past, man loses his sense of

self as a historical being, and is threatened by time’s revenge.

Booth emphasises that time associated with the past, present and the future

are inextricably linked and stresses that people cannot merely sit in one

epoch. “The natural satisfaction of life lies in vital participation in forms of

life that extend beyond the boundaries of individual existence.”19

The architecture of the project has to mediate between the technological

present and preoccupations with the time frames in daily routines.

Increasingly, preoccupation with the future dictates how we chose to use our

time in the present. This concept has been reinforced by Bodei, who

suggests that “our temporal relations have gone through an inversion: we

19 Pallasmaa, Juhani: Encounters: Architectural Essays. Finland: Rakennustieto Oy. 2005: 309

38

regard the flow of time as something that runs from the future to the present

and the past, and not as it traditionally, from the past to the present.”20

The Owhiro Crematorium encompasses the idea of such future projection.

The impact of time on the building’s durability and aesthetic impermanence

will also be reflected through the structure and materials. Geological

processes such as weathering challenge the progression of time in terms of

deterioration. The Owhiro Crematorium reflects a contemporary shift from

past desire to build permanent structures to accommodate ecological

impermanence.

20 Pallasmaa, Juhani: Encounters: Architectural Essays. Finland: Rakennustieto Oy. 2005: 313

39

The importance of water and tides The importance of water in architecture has been explored in terms of

questioning our need for permanence. I evaluated its role in temporal

rhythms and rituals with reference to Pallasmaa’s 1995 essay Time and

Melancholy. Pallasmaa exemplifies that time and water inevitably flows

into death. He contrasts the constant movement of the tides’ architectural

immobility. This concept is also evident in Scarpa’s Brion Tomb, where the

architecture extends beneath the surface of the water and reflects the space

between life and death. The water mediates between these two realms.

From a distance, water appears as an opaque line stabilising the sky, while

viewed from closer up it is transparent.

The architectural representation of Owhiro Crematorium uses the interstitial

state between high and low tides, emphasising distance and proximity. This

is achieved through revelation and concealment, the flooding of parts of the

built environment and detailing how water is returned to the ground.

Furthermore, the tidal sounds are echoed in parts of the built environment.

40

Sky and horizon

The horizon (water and sky) divides opacity from transparency and connects

with the infinite. Virilio describes this horizontal power as one which can

be addressed vertically when he debates: “But the horizon, the skyline…is

also… a vertical littoral, the one which separates ‘the void from ‘the full.’”21

This vertical treatment of the horizon is utilized in the Owhiro Crematorium

through cutting the horizon and adding spatial depth to the sky. Open

underground structure and the fragmented void created by the crematorium

roof add depth, while concrete vertical planes in the sea cut the sky. This

vertical connection establishes a hierarchy of the ground and reinforces the

weight of the earth as a repository of history and memory.

Virilio comments in his study of military bunkers on the intent of the

architecture, the convergence between the reality of the structure and its

commentary on the sea. By facing out to the open sea (the void), the

bunkers challenge awareness of spatial phenomena by emphasising the

strong pull of the shores. Virilio compares them to funeral architecture,

when he states: ” this analogy between the funeral archetype and military

architecture…this insane situation looking out over the ocean…This waiting

before the infinite oceanic?”22 This position of waiting in front of the sea

21 Virilio, Paul: Open Sky. New York: Verso. 1998:1 22 Virilio, Paul: Bunker Archeology. New York: Princeton Architectural Press:1994: 11

41

relates to the notion of the infinite expression of possibilities evident in

figure eight.

Figure eight

`

i) Concrete trenches ii) Tilting23

The implications of the bunker’s mono functional monolith’s impact on sea

and sky, relate to the Owhiro Crematorium’s intention as an architectural

representation.

The insertion of a mono-functioning building imposes a commentary on the

void created by the quarrying of the hills waiting to respond a response to

the fear created in a pandemic.

23 Virilio, Paul: Bunker Archeology. New York: Princeton Architectural Press:1994:

162, 177

42

Physical properties of light

Light has a physical presence evident when we look into space and are

conscious of our visual exploration. Light is of supreme importance in the

vastly changing hues of an infinite horizon and determines our perception of

the cosmos. As we look out to where the sea meets the horizon, we form a

different perception of how we look at light. Turrell uses light as a material

in its physical aspects to “feel the repose to temperature and its presence in

space, not on a wall.”24 He describes this ideal space of light as one where

the viewer is suspended and allowed to explore the infinite. This process is

achieved by giving form to volume, rather than creating form within

volume. This use of the space of the sky as an expansion of being to

heighten our understanding of our perceptual relation to the world, also

relates to philosopher Bachelard , who describes the state of “Intimate

immensity” of the motionless man, when we are dreaming in a world that is

immense.

The Owhiro Crematorium emphasises the physical properties of the

atmosphere through delineating the point where the hills meet the sky. It

frames views to the sky, pulling the sky down and giving it a physical

quality.

24 Andrews, Richard and Bruce, Chris: James Turrell: Sensing Space. Henry

Gallery Association. Seattle: 1992: 12

43

Architectural Precedents: Turrell’s Roden Crater

The 500,000-year-old cinder cone, Roden Crater, embodies the dynamic

forces of nature and tracks the systematic passage of time as dictated by the

movement of the sun, planets, stars, earth and moon. The emphasis of

ground as a platform from which to view the infinite changes in the sky is

evident in Turrell’s project. The architectural representation of Turrell’s

understanding of the sky is entirely conducted from within the crater and it

appears untouched from the exterior. Various types of internal framing such

as tunnels and chambers act as cameras projecting the sky’s image onto a

wall spaces. The capturing of the sky into earth bound spaces enables

observers to connect to a time beyond their own and forces them to see the

held potential within the sky usually taken for granted. Such a crater

captures some of the paradoxical qualities of the sky: its hugeness and

intimacy, its substance and intangibility, its mutability and permanence, its

luminosity and opaqueness.

The Owhiro Crematorium uses framing of the sky from different vertical

heights, to bring the sky down into the void spaces. It uses sky projections

to show the fluctuations and movements within the sky mirroring the

erosion process.

44

Architectural Argument

In our technological speed driven, global society we are swamped by

indeterminacy. The way we live and reference our decisions is based on

codes and values which have evolved from images and representations. We

rely on technology and science to increase longevity and distance ourselves

from the natural processes such as aging and death. The political and moral

climates of the early twenty-first century also condition social attitudes and

expectations of mortality.

Despite the sophistication resulting from technological and scientific

progress, we are not immune to anxieties regarding our personal security. In

fact, the complexity and diversity of choices now available to us has

increased our propensity towards apprehension, which is particularly evident

in potentially threatening situation such as the bird-flu pandemic.

Most contemporary architecture denies potential threats, which are often

shelved. The crisis is the crux to my project of which the pandemic is the

symptom. It destabilises the hierarchy between human control and nature.

In this process of destabilisation, death is forced back into social

consciousness. The pandemic, as an illustration of how nature can threaten

mankind, is at the interface of both human and natural vulnerability. The

Owhiro Crematorium demonstrates that the role of architecture is to

transgress this exclusion of death and the control of natural processes

through engagement with a site which embraces decay. An appreciation of

the impact of time, environmental consequences and an unstable landscape

45

plays a pivotal role in how we perceive our mortality. The Owhiro

Crematorium transgresses the impossibility of permanence in a society,

which creates the illusion of stability surrounding death. This architectural

representation addresses threats and issues, which many contemporary

Westerners, not excluding architects, consider morbid and prefer to avoid,

while providing a civic space, an experiential resource facilitating

engagement with a threatening site which invites diverse readings and

reactions.

46

Significance of Research Outcomes

The discussion, analysis and examination of the key texts and precedents

demonstrate that it is essential to re-evaluate the function of architecture in

its expression of human mortality in response to contemporary, Western

denial of death. Architects are increasingly preoccupied with the design of

high-tech, multi-functional, multi-faceted and multi-dimensional contained

spaces, which promote hygiene, efficiency and status and exclude the

importance of ground.

Research of current funeral practice in Wellington, in businesses such as the

Lychgate Funeral Home, has revealed a need for architecture to re-address

the face of death in life. Death was found to have become devoid of

meaning and its progressive exclusion from Western society was found to

heighten social anxieties, fears and pessimism.

In Wellington there is no architectural response to the potential threat of a

pandemic, consequently we do not have a memorial facility for victims.

Acceptance of death and the metaphors surrounding it such as the

association with dark spaces, ground and decay need to be readdressed by

architecture to reveal the natural ecological process in which landscape is

the subject. Research has shown that links between body and mind, the

absence and the anticipation of death, the architectural programme, flux and

hierarchy and emphasis of the landscape all help to reinstate the inclusion of

47

death as integral part of life. The research has revealed that Owhiro

Crematorium should acknowledge and describe the process of cremation,

mourning and ritual and absence of the corpse.

Research has revealed the importance of emphasising natural ecological

elements such as sea, horizon and steep hills to facilitate connection with the

regeneration of the earth. Moreover, how a natural environment can be

architecturally manipulated to challenge users to re-evaluate their

connection within the cosmic world.

A dormant structure has the potential to add a different dimension to spatial

experience and engagement by framing the sky, emphasising light and

horizon to connect users with the phenomenology of place in a confrontation

of their mortality.

48

Application of research to final project design

My objective was to design a crematorium waiting to be used in a pandemic

that would challenge an audience to re-evaluate its vulnerability and

mortality. The following design elements were applied from my research

findings:

• The Owhiro Crematorium uses framing of the sky from different

vertical heights, to bring the sky down into the void spaces.

• The crematorium reflects changing contemporary global attitudes to

death and social threats.

• The dormancy period of the Owhiro Crematorium will allow individuals

to connect with the infinite space of their consciousness while being a

catalyst for confrontation and engagement with death.

• The crematorium emphasises the physical connection between body and

ground both through the physical journey through the site and changing

spatial sequences in response to the force of the wind and the sea.

• The vulnerability and volatility of the site have been taken into account

in the design which will respond architecturally to erosion.

• The architectural representation of the dormant challenges the mourner,

recreational user and student in their understanding of the environment

as a series of vulnerable processes.

• As a civic and public space, the crematorium incorporates the pathway

as part of the fractal design hierarchy to facilitate connection with the

49

surrounding natural environment. Scale has been employed to create

hierarchical linking.

• Fractal geometry derived from the environment, is used in various

scales throughout the active parts of the building, ground paving and

more refined built elements. The scale of ground paving also responds

to the number of people intended to use pathways.

• Dark space represents opportunities to gain insight and is used for

mourners and students to discover their connection to the landscape.

This repression of the visible connects with perception and privileged

access to truth.

• A connection between body and mind is created by revealing what is

physically supporting the visitor’s bodies. Similar effects and impacts

are achieved: through the use of ordering devices, the architectonic

arrangement of trees and hedges, clearings, the treatment of light, hinge

points and through hierarchy in change of scale.

• A sense of orientation within the cosmos is emphasised through

deliberately fragmented spacing of memorial spaces, entrance, sea

platforms and a crematorium. The division of these spaces allows

contemplation of specific moments within the whole process of

mourning. Furthermore, these built elements will be subordinate in

scale and structure to the surrounding hills and ground.

• This rhythmical use of stairs is used to relate on a human scale to hills

surrounding the Owhiro Crematorium.

• There is a relation between the movement of the human body through

time and rhythmic spaces through multiple stairways, numerous staging

platforms, which stagger up the hill and stairways leading into the

water. The walkways work on outer disorientation and inner re-

orientation.

50

• The programme communicates the passage of time within its dormant

position. The active environment will be covered with planting and

sand, which will erode with water, sun, wind and eventually be

completely submerged.

• The impact of time on the building’s durability and aesthetic

impermanence is reflected through the structure and materials.

• The interstitial state between high and low tides, emphasizes distance

and proximity through revelation and concealment, the flooding of parts

of the built environment and detailing how water is returned to the

ground.

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Further Research

More extensive examination of how surfaces and materials respond to

natural decay and heat and how they can be activated would be given

priority in further research.

It would also be necessary to explore how architecture can communicate

activation on many different scales and the different ways that activation can

occur.

From a sociological perspective, I would further investigate discussion

surrounding the relation between the body and exterior environment to

examine how we relate, rely on and challenge our exterior environments.

The concept of how space can be used to entice discovery and create

mystery also begs further exploration.

Alternative use of advanced technologies, structures and processes, to make

death more transparent in contemporary western society is another potential

research area.

52

Reference list

Andrews, Richard and Bruce, Chris: James Turrell: Sensing Space. Henry Gallery

Association. Seattle: 1992

Aries, Philippe: The Hour of Our Death. New York: Alfred A. Knopf. 1981

Aries, Philippe: Western Attitudes Towards Death. Baltimore: The John Hopkins University Press. 1974

Bachelard, Gaston: The Poetics of Space. Massachusetts: Beacon Press.

1969

Bailey, Joe: Pessimism. New York: Routledge Inc. 1988

Barthes, Roland: Incidents. California: University of California Press. 1992

Baudrillard, Jean: Symbolic Exchange and Death. London: Sage

Publications. 1993

Constant, Caroline: The Woodland Cemetery: Towards a Spiritual

Landscape. Sweden: Byggforlaget. 1994

Kamerman, Jack: Death in the Midst of Life: Social and Cultural Influences

on Death, Grief and Mourning. Englewood Cliffs: Prentice Hall. 1998

53

Krinke, Rebecca: Contemporary Landscapes of Contemplation. New York:

Routledge. 2005

Lewis, Diane: Walter Pichler Drawings, Sculptures, Architecture. St.

Margarethen: Samson Druck. 2000

Paez, Roger: A Marine Kind of Land. Quaderns d’arquitectura i urbanisme.

n. 243

Pallasmaa, Juhani: Encounters: Architectural Essays. Finland:

Rakennustieto Oy. 2005

Vidler, Anthony: The Architectural Uncanny. Massachusetts: The MIT

Press. 1992

Virilio, Paul: Bunker Archeology. New York: Princeton Architectural

Press.1994

Virilio, Paul: Open Sky. New York: Verso. 1998

Williams, Kim: Pavements and Hierarchy, 2000. Http://www.nexusjournal.com/Miki-Sali-Yu.html

Young, Julian: Heidegger’s Philosophy of Art. Cambridge: Cambridge

University Press. 2001

Zabalbeascoa, Anatxu: Igualada Cemetery Enric Miralles and Carme Pinos.

London: Phaidon Press Ltd. 1996

54

Bibliography

Books

Albertini, Bianca and Bagnoli, Sandro: CARLO SCARPA: Architecture in

the Details. Milan: Jaca Book spa. 1988

Ambasz, Emilio: The Architecture of Luis Barragan. New York: The

Museum of Modern Art. 1976

Architectural Association: Mary Miss Projects 1966-1987. London:

Architectural Association. 1987

Aries, Philippe: Images of Man and Death. New York: Harvard College.

1985

Barragan, Luis: The Quiet Revolution. Switzerland: Barragan Foundation.

2001

Baudrillard, Jean and Nouvel, Jean: The Singular Objects of Architecture.

London: University of Minneapolis. 2002

Buck-Morss, Susuan: The Dialectics of Seeing: Walter Benjamin and the

Arcades Project. Cambridge: The MIT Press. 1989

55

Etlin, Richard: The Architecture of Death: The Transformation of the

Cemetery in Eighteenth-Century Paris. Massachusetts: The Massachusetts

Institute of Technology: 1984

Heathcote, Edwin: Monument Builders. Chichester: Academy Editions.

1999

Houlbrooke, Ralph: Death Ritual and Bereavement. London: Routledge.

1989

Innes, Christopher: Avant Garde Theatre: 1892-1992. New York:

Routledge.1993

Leatherbarrow, David: Uncommon Ground. Massachusetts: Massachusetts

Institute of Technology. 2000

Libeskind, Daniel: Breaking Ground. New York: Riverhead books. 2004

Mostafavi, Mohsen and Leatherbarrow, David: On Weathering: The Life of

Buildings in Time. Cambridge: MIT Press. 1993

Stokes, Adrian: Stones of Rimini. New York: Schocken Books. 1969

Taylor, Jennifer: The Architecture of Fumihiko Maki. Switzerland:

Birkhauser. 2003

Tilley, Christopher: A Phenomenology of Landscape. Oxford: Berg

Publishers. 1994

56

Torres, Elias: Zenithal Light. Barcelona: Col.legi d’Arquitectes de

Catalunya. 2004

Virilio, Paul edited by Derian, James: The Virilio Reader. Massachusetts:

Blackwell Publishers. 1998

Wrede, Stuart: The Architecture of Erik Gunnar Asplund. Massachusetts:

The Massachusetts Institute of Technology. 1980

Zapatka, Christian: Mary Miss Making Place. New York: Whitney Library

of Design. 1997

Internet

Permalink, Jimmy: Memorial to the Murdered Jews of Europe, May 2005.

http://jamestamp.com/2005/05/memorial-to-murdered-jews-of-europe.html

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57

Glossary

Aleatory: Depending on the throw of a die or on chance, involving

random choice by a performer

Ambivalence: Coexistence in one person of the emotional attitudes of love

and hate, or other opposite feelings, towards the same object

Anthropomorphic: The attribution of human form or personality to a god

Antiquity: 1. Great age

2. The far distant past

Apotheosis: 1. A perfect example e.g. It was the apotheosis of elitism,

2. Elevation to the rank of a god

Apparitions: Like a ghost, appears in a mysterious way

Cadavers: Dead bodies

Concatenations: Linked together, the forming together

Desiccation: To remove most of the water from

Divested: 1.Strip (clothes),

2. To deprive of role, function or quality

Emaciated: Extremely thin through illness or lack of food

His emaciation is frightening to behold

Eschewing: Avoid, shun

Exhume: To dig up

Harbinger: Signs of truth, announces the coming or approach of another

Homily: Sermon

Immortal: 1. Not subject to death or decay

2. Famous for all time

Interment: Burial

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Intermittent: Occurring at intervals

Lassitude: Physical mental weariness

Albert has moments of lassitude when he feels nervous and

irritable

Licentious: Sexually unrestricted, or promiscuous

Lugubrious: mournful, gloomy

Maudlin: Weakly sentimental

Martyr: One who suffers, dies for his beliefs

Moribund: Dying without force or vitality

Munitions: Military equipment

Narcotic: Addictive; numbness, drowsiness

Noisome: 1. (Of smell) offensive

2. Extremely unpleasant, e.g. noisome vapor

Ontology: The nature of being alive

Ornithology: Science of birds

Ossuaries: Where skulls and limbs were artistically arranged

Parallax: An apparent change in an object’s position due to the

change in the observer’s position

Parallelepiped: A solid shape whose six faces are parallelograms

Pestilence: Any deadly epidemic disease

Pious: 1. Religious our devout

2. Insincerely reverent; sanctimonious, adj. piousness

Sepulcher: 1. A buried vault or tomb

2. Gloomy or solemn

Suffused: Well up and spread over

Throng: Great number of people (things crowded together)

To gather in or fill: Streets thronged with shoppers

3. Everlasting

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Vigils: 1. Night time period of staying awake to look after a sick

person

Vigilance: Careful attention

Vigilant: On the watch for trouble, danger

Verities: Truths

Virulence: Poisonous, malignant or violence, malignant, bitter

Vitrification: Vitrify: convert, or be converted into glass, by heat

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Collated Images

74

Image Bibliography

Page Number Source

Phaidon: Family: Photographers Photograph their Families. London:

Phaidon Press Limited. 2005

Murphy, Richard: Carlso Scarpa. London: Phaidon Press Limited. 1993

Riera, Carme: Els Cemetiris de Barcelona: Carme Riera: Isabel Steva. 1981

Etlin, Richard: The Architecture of Death: The Transformation of the

Cemetery in Eighteenth-Century Paris .Massachusetts: Massachusettes

Institute of Technology. 1984: pg 84, 29, 4

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Collated drawings

83

Collated models

88

Discussions

Owhiro Crematorium

Documents

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