Bachelor’s Project Erik Fukino Erik Fukino Bachelor’s Project AAHF30 Head of studio: John Ross Studio Assistant: Gediminas Kirdeikis Lund School of Architecture Spring 2017
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(Cover page) View of the proposal’s west facade.
UPP-OCH-NER CREMATORY This proposal for a crematory in the abandoned limestone quarry in Limhamn, Malmö takes inspiration from the site’s identity and orientation and translates that notion to a
building envelope and internal walkways. Assisted with digital tools, this bachelor’s project investigates the query - how does one combine emotional architecture with a context with extreme conditions such as its vastness and delicate landscape?
Upp-och-Ner Crematory (“up and down” as well as “upside down”) sits calmfully in the midst of the reed field and its design mimicks the site’s pathways and plateaus and invites the visitor on a journey in, out, up and down the landscape.
Layers of the site. Vegetation, plateaus, vast fields UPP-OCH-NER
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I. The Site - Context and history
- Site analysis
II. Process - Transitional geometries
- Form finding
III. The Crematory - Concept
- Program - Drawings
Visualization of the columbarium, the destination of one’s journey CREMATORY
IV. End notes
- References
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Bachelor’s Project Erik Fukino
I. The Site: Context
Up until the mid-90’s the quarry in Limhamn was a result of the industrial quarrying of limestone for manufacture of cement and is today a nature reserve. Since its shutdown the forces of nature gradually reclaimed the man-made quarry and its platforms the heavy blast-
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ing created. Today, over 2000 different species inhabit the delicate wasteland - everything from endangered frogs, foxes, falcons and deers. The quarry’s extreme vastness and history makes for an engaging site for interventions that invites the discussion of how to relate to
the site’s existing physical and metaphysical context. To what scale and extent can the quarry be exploited again by man? How can we add a feat that embraces the site’s nature and foliage and not the other way around?
Picture of the limestone mining. http://malmo.se UPP-OCH-NER
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The quarry in Limhamn, Malmรถ CREMATORY
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Bachelor’s Project Erik Fukino
I. The Site: Site analysis
From visiting the site for the first time, the standout feature of the quarry was for me its orientation. Since using a blast technique often utilized in quarries, 20 meter tall plateaus has been created with
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driveways connecting the platforms. The total depth of the site is 70 meters with three main platforms or terraces. When visiting the place it was its orientation and paths I found interesting. To get to one
place from another one is forced to take a longer passage around the quarry going down on a slope. By then, the visitor has experienced parts of the quarry they’ve not experienced before.
Diagram of the orientation principle. UPP-OCH-NER
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Plateau Orientation Plateau
Photographs from the site showing its layers and pathways. CREMATORY
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Bachelor’s Project Erik Fukino
I. The Site: Site analysis
How do one translate this one concept, the site’s orientation, into a building project? An early concept diagram articulates the basic idea of the crematory I
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envisioned for the site. Can a building mimick a quarry in terms of walking patterns? What spaces emerges from spiraling ramps, and how does the pathways in the
building alter the users experience both physically and mentally? Can the building, like the pathways, take you in, out, up and down in the site?
Concept diagram. UPP-OCH-NER
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Another interesting concept from the site visit was how different species in the foliage contrasted the adjacent vegetation. Bright pink and red branches looks alien
Collage, original artist: Michelle Morin CREMATORY
in a earth-toned landscape but looks fitting at the same time. It is part of the whole picture but when inspected closely it is an individual element in the rather
homogenous tone of the site. This concept of sticking out but at the same time blending in was something I wanted this project to respond to.
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Bachelor’s Project Erik Fukino
II. The Process: Transitional geometries
The initial phase of the design was its form finding. Supported by digital tools, a 3D-printed model was used and interpreted to find interesting aspects of spaces, concepts and relations between mass and voids. This
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process helped me to investigate these relations and provoked new ideas and views of how to translate my concepts into a physically built space. By combining key words an object was formed, printed and later studied.
Closeup of the final 3D-printed model. UPP-OCH-NER
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1. Element
2. Aggregation
/ˈɛlɪmənt/ a component or constituent of a whole or one of the parts into which a whole may be resolved
/ˌæɡrɪˈɡeɪʃən/ a composition technique for building a new object from one or more existing objects that support all of the new object’s required interfaces
Surface Volume
Variance Continuity
spring 2017
Screenshot of one of the steps from creating the module. CREMATORY
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Bachelor’s Project Erik Fukino
II. The Process: Transitional geometries
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I had the intention to articulate a building with a clear concept that permeated the whole crematory - the orientation. This concept had to be present in the whole envelope. What came to mind that was similar to my initial idea - to build with one element - was the bird and Japanese architect Kengo
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A. Reference, disorder: a bird and its nest
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Kuma. Both utilizes the idea to combine one element or aspect in a way that forms a whole. Interestingly, what differs these two techniques? Just the order of the element? What I eventually ended up with was a more ordered structure after testing different ways of arranging the stick parametrically.
B.Reference, order: Kengo Kuma (KKAA) UPP-OCH-NER
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Curve
Radius, segments (3)
Reciprocal structure
Scale, radius, angle
Step by step screenshots of how the parametric module took shape CREMATORY
Final form
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II. The Process: Form finding
Bachelor’s Project Erik Fukino
3D-printed study model
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The final 3D-print was used to investigate interesting aspects of form and spaces. What I found engaging in my printed design was the relation between light and mass and how it in different areas became denser. The mod-
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A. Detail: Light/Mass, Orientation
B
el’s orientation also became apparent when twisting and turning it as the stick element is populating a continual intersecting line. I found it interesting how it is intertwined in itself and what that evokes in terms of design.
B. Detail: “Footprint”, Mass/Void
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The round form and subtle supports provoked ideas of how the building could sit on the scarce landscape and how to relate to its fragile foliage.
C. Detail: Inside-outside UPP-OCH-NER
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Photograph of final 3D-printed module. CREMATORY
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Bachelor’s Project Erik Fukino
III. The Crematory: Concept
Placed in the lowest part of the quarry, in the middle of the reed field. This utilizes the idea and concept of one being forced to experience the quarry’s orientation to finally land in the crematory. I found it intriguing to appropriate the
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vast reed field because of its calm non-static nature which I anticipated could brace the visitors emotional journey from the site in to the crematory.
Site map with the proposal’s placement UPP-OCH-NER
500 m
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B
A. Main layers of the site and its depth relations.
B. Diagram visualizing the context’s layers, constructed over the years.
CREMATORY
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III. The Crematory: Program
COLD STORAGE
CREMATION
Tech
TECH
ASH PROCESSING
OFFICE
Staff
STAFF
MEETING ROOMS WC/RWC RECEPTION/ENTRANCE
CHAPEL
PUBLIC
Public
Bachelor’s Project Erik Fukino
TECH
COLUMBARIUM STREET
WC/RWC
The program is divided between above and under ground. The emotional spaces is placed above ground and the rational spaces suchs as entrances, staff area and technical space is situated under ground. This concentrates the
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visitors emotional journey as one enters under ground and gradually progress vertically in the building and landscape, experiencing different spectras of the building both in terms of spaces, views and light.
Program UPP-OCH-NER
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Above Under
Program organization CREMATORY
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Bachelor’s Project Erik Fukino
III. The Crematory: Program
Early sketches depicts the combination of the concepts. An orientation that mimicks the quarry above ground and entrances and rational spaces under ground with light
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intake from altering the landscape surrounding it. These sketches were fruitful reference points when initialising the modeling and composition of the proposal.
Early conceptual sketches UPP-OCH-NER
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Chapel Columbarium Views Staff Tech Entrances
Program diagram CREMATORY
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Bachelor’s Project Erik Fukino
III. The Crematory
Site diagram showing the main passages to the crematory by car and by foot, utilizing the pre-existing roads. This road is only one example of routes as there are more entrances to the quarry with different courses to take.
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The entrances to the building is split up into two, the hearse car entrance in the north and the staff and visitors entrance in the south where there are nearby parking spaces.
Site map with main paths to the proposal UPP-OCH-NER
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Roof plan 1. Existing roads 2. Hearse entrance
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3. Parking 4. Public entrance
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Bachelor’s Project Erik Fukino
III. The Crematory
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Visualization of the sunken landscape outside of the staff area UPP-OCH-NER
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III. The Crematory
Diagrammatic Program
Diagrammatic Program Collapsed
Bachelor’s Project Erik Fukino
Columbarium
Inner ramp
Outer ramp
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A
B
The emotional spaces consists of a chapel and columbarium connected by ramps with the intention of creating an emotional walk creating different experiences for the mourner depending of where in the building they are.
This arrangement creates voids and layers in which the chapel takes place. The inner ramp takes the visitor upwards to the columbarium and creates a dome for the chapel. The outer
A. Diagram showing the ramps and plateaus
B. Collapsed diagram of (A)
ramp takes one down and creates the crematory’s skin and envelope. To achieve a slow peaceful passage through the building, the ramp slows down one’s pace.
UPP-OCH-NER
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Visualization of the view from the columbarium and chapel space CREMATORY
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Bachelor’s Project Erik Fukino
III. The Crematory
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Visualization of the entrance foyer and start of the emotional journey underground UPP-OCH-NER
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Entrance plan 1. Public entrance 2. Waiting hall 3. Changing room 4. Office
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5. Staff room 6. Hearse entrance 7. Coffin recieval 8. Cold storage 1
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9. Cold storage 2 10. Control room 11. Furnace hall 12. Urn storage 13. Entrance foyer 10
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III. The Crematory
Columbarium
Outer ramp
Inner ramp
Bachelor’s Project Erik Fukino
Supports
Chapel
Parking Entrance
The exploded isometric diagram shows the main elements that makes the emotional spaces of the crematory. The chapel is the buildings private layer and intimate space.
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The wooden supports reinforce the building envelope which is the outer ramp. On top is the columbarium volume which is enclosed partially by the outer ramp.
Exploded isometric of the main spaces of the proposal UPP-OCH-NER
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Visualization of the view one have inside the chapel, looking up to the columbarium CREMATORY
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Bachelor’s Project Erik Fukino
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Visualization of the intimate chapel space under the pre-cremation ceremony UPP-OCH-NER
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Columbarium plan 4. Hearse entrance 5. Outer ramp 6. Urn storage
1. Chapel 2. Inner ramp 3. Public entrance
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Bachelor’s Project Erik Fukino
III. The Crematory
Form studies The ramp
With inspiration from the Japanese art form Kirigami, a variation of Origami which includes cutting, a flat space can be transformed and
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create voids and spaces by just altering its form and direction. This alteration that creates movement is a key concept in this proposal.
Diagram showing the principle of the Kirigami reference UPP-OCH-NER
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Visualization of a mourner taking the inner ramp up to the columbarium in the evening
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Bachelor’s Project Erik Fukino
III. The Crematory
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Inner layer / Ramp+dome Because of the site’s vastness the intention was to add a layer of intimacy and privacy in the
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A. Dome
B
proposal. Similar to the classic dome the inner ramp is manipulated and tapered to achieve the combination of a dome and a circulation space. A much
B. Manipulation of the dome
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needed addition to a site where the openness is dominating. The enclosed chapel also anticipates one’s journey towards the light, the upper part of the crema-
C. Adding ramp
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tory - the columbarium. One’s ascension towards the light with a slow pace from the ramp creates mindfulness after the initial ceremony.
A. Chapel space is created UPP-OCH-NER
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Section A-A 5. Inner ramp 6. Outer ramp 7. Columbarium
1. Entrance foyer 2. Staff offices 3. Cremation 4. Chapel CREMATORY
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III. The Crematory
Roof light
Roof
Bachelor’s Project Erik Fukino
Wooden ribs
Glass windows
Urn shelves
Railing
The Columbarium After the ceremony the mourners ascend to the proposal’s columbarium - a round, light
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volume where one can store the urn and look out on the panoramic view.
Floor
Exploded isometric of the columbarium’s components UPP-OCH-NER
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Visualization of the columbarium where the visitor store their loved ones CREMATORY
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Bachelor’s Project Erik Fukino
III. The Crematory
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Visualization of the columbarium
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Columbarium plan 4. Hearse entrance 5. Outer ramp 6. Urn storage
1. Chapel 2. Inner ramp 3. Public entrance
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III. The Crematory
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To enhance the light gradient of the proposal the roof of the outer ramp is divided into individual segments that rotates around itself and opens up more the higher up in the
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A. Diagram of how the roof’s angle alters by height
building one get. Thus, this creates a light gradient that gradually goes from dark to light from the ground level to the columbarium.
B. Sketches of how the roof and path changes depending of vertical height
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C. Diagram of how the roof’s angle alters by height UPP-OCH-NER
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After placing the urn in the columbarium one descends down the crematory’s envelope
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Bachelor’s Project Erik Fukino
III. The Crematory
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UPP-OCH-NER
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Reflection Working with new software and learning new ways of approaching a design project has been a fruitful exercise in terms of workflow, sketching and form finding. With the ambition of drawing inspiration directly from the site the digital tools helped me articulate my thoughts with an effective approach. Using parametric tools helped me with the form finding for the project, so combining hand sketching to quickly draw out an idea to later model it in 3D was a great tool for investigating its qualities.
Although, there are aspects of the project I am not fully satisfied with which I could have developed more. More detailed materiality, entrance situations and structural connections would be the next step in this proposal if it would continue further. In all, this project has been a great challenge, both in learning and using new software and also designing a crematory in an extreme site such as the quarry in Limhamn. The combination has given me a new perspective and curiosity of how to tackle and approach an idea and concretize it.
CREMATORY
Limhamns kalkbrott, Naturreservat Limhamns kalkbrottSkötselplan. http://malmo.se/download/18.29c3b78a132728ecb5280005325/Skötselplan+naturreservat+kalkbrottet. pdf (Retrived: 22-05-2016)
Images: Mark, David. 2013. Blue-Throated Blue Warbler. [Photograph, edited]
https://pixabay.com/en/blue-throated-blue-warblerbird-nest-86581/ (Retrieved 07.05.2017)
Unknown author. [Photograph, edited]
http://malmo.se/images/18.4d147ba1286e5bcbb4800066312/1491298739310/industrin.jpg (Retrieved 07.05.2017)
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The investigation the ramp and what conditions it can create spatially has been heavily assisted by the digital tools we have been learning. Quick render studies gives one a fast evaluation and perception of a space’s feeling. I am proud of the end result as my intention from the start was to keep the design and form quite calm and not let the parametric tools derail and take over designwise. Instead my aim was to utilize the digital tools and assist me in the modeling process. Merging concepts like ascending ramps and the circular motion has in my point of view been a succesful building concept as they participate in one’s emotional journey, slowing the pace and allowing for different views of the building and landscape. Despite the compact scale of the final proposal I still see new possibilities and ideas for the interior and exterior, finding and experiencing new spaces in it.
References Gatukontoret Malmö Stad. 2010. Malmö stads projektorganisation för naturreservat
Kuma, Kengo. 2014. Diagram. [Picture]
http://www.detail-online.com/fileadmin/_processed_/ csm_SunnyHills_structure_diagram_Seite_3_bbc3e22e10.jpg (Retrieved 19.04.2017)
Sora, Lora. 2011. [Photograph]
https://lorasora.files.wordpress.com/2011/11/ img_2972.jpg (Retrieved 19.04.2017)
Morin, Michelle. 2014. Meadow with Thistle. [Watercolor, guache, edited]
https://cdn.shopify.com/s/files/1/1018/2101/products/ GetFile_96589da0-20cc-4a63-9bb9-01f2b1bc73a6. jpeg?v=1447641636 (Retrieved 01.04.2017)
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www.erikfukino.com