Redefine the Cemetery / Journal - Kaige Hu by KateHU

- Redefine the Cemetery Journal

Mdes in Interior Design Stage 3 Glasgow School of Art Kaige Hu 18158005

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CONTENTS 1. SOURCE OF INSPIRATION---------------------------------------------------2 1.1 Li Sun's Photography 1.2 orgotten monument in the Balkans

2. INTERPRETATION AND DEFINITION OF THE CEMETERY--------6 Cemeteries in Heterotopia

3. CASE STUDY---------------------------------------------------------------------12 3.1 San Cataldo Cemetery / Aldo Rossi 3.2 Tokyo vertical cemetery concept design

4. RESEARCH ABOUT BURIAL METHOD----------------------------------20 4.1 Death diposal analysis 4.2 Resomation

5. ABOUT FUNERAL--------------------------------------------------------------26 5.1 Chinese funeral process research 5.2 Funeral custom study in China

6. ABOUT WATER CEREMONY ------------------------------------------------32 6.1 Burial methods of different religions 6.2 Water in religions 6.3 Water ceremony 6.4 About water purification rituals and traditional burial sites 6.5 Metaphor of Water 6.6 Metaphor of Ship

7. THEORETICAL ANALYSIS---------------------------------------------------44 7.1 Five processes of accepting death 7.2 About the ceremony 7.3 Rite of passage 7.4 Three steps of a ceremony

8. DATA SOURCES-----------------------------------------------------------------51 9. REFERENCES-------------------------------------------------------------------52

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SOURCE OF INSPIRATION I was inspired by Li Sun's photoes. He drove on a road and he found that the road separated a cemetery from the city. The city was bustling and noisy, but the cemetery was unattended. There seems to be an invisible boundary, so I wonder why the cemetery is incompatible with the city. Why is it a forgotten place? How can we make the boundaries disappear and let the cemetery become part of the city?

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Introduction of photoes “ Many cemeteries of Queens are something of mirrored cities to New York City. Across the East River, all kinds of gravestones and tombs erected on the hill like the miniaturized landscape of Manhattan skyscrapers. Compared

it is the top of gravestones or the top of skyscrapers. All urbanites finally will make their last one-way trip from a familiar city to another unfamiliar one. These two cities in front of me are situated in two different kinds of time and

to sleepless metropolis, this miniature city seems to fall into sleep forever. Such still is only occasionally interrupted by noise from surrounding freeways and several flying birds. While I pass between gravestones and look the skyscrapers of Manhattan emerging from the horizon, these familiar buildings’ shapes suddenly become strange to me. Sometimes, these gravestones before my eyes are mixed with buildings in the far. It’s hard to tell whether

space, and they are divided by the boundary between life and death. However, they share some surprisingly similarity and uniformity to some extent.”

https://www.lisunphoto.com/the-city-view

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From these photos, we can clearly see that there seems to be a clear boundary between the cemetery and the city, which separates the city from the cemetery.

CITY VIEWS, PHOTO BY LI SUN

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Research questions: How does the cemetery exist? Can a monumental cemetery really be remembered?

Forgotten monument in the Balkans Humans often use high and solemn monuments to inscribe history and shape the suffering and sorrow into a sinuous obelisk or bronze statue. However, when the stone collapses, the metal is destroyed, and the sublime structure is subverted, how should humanity mourn the past?

The Spomeniks Monument series by Jan Kempenaers

In the hinterland of the former Yugoslavia, many monuments of various shapes were built in the 1960s and 1970s. Human beings create monuments to recall the pain of the dead in the past and to commemorate the glory of the past. With the disintegration of Yugoslavia, many monuments are now surrounded by grass and forgotten.

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Garavice Memorial Park in BihaÄ&#x2021;, Bosnia-Herzegovina, design by Bogdan BogdanoviÄ&#x2021;, built in 1981.

With the disintegration of Yugoslavia, these beautiful surreal monuments in the Spomenik project gradually faded out of sight. Now few people still remember where they stood, even some monuments have been destroyed and demolished in the civil war, and the architects and artists of that time. They are getting old. The symbols and symbols of symbolism are no longer understood by the contemporary people with the changes of the context of the times. The once passionate ideals are submerged by the new era, and now only the indifferent sculptures and desolate landscapes are left.

Reflection: We built tombstones to remember those who died, and then buried these tombstones again with forgotten. When these tombstones are forgotten, how long can memories still exist in our memory? When the meaning of symbols disappears, can architecture, video, and writing become the carriers of our memories? The status quo of Spomeniks is a reflection on the monument. It exists in the fusion of culture and the birth and demise of a country. It embodies people's yearning for Utopia and also inspires people's thinking about dystopia.

Research Analysis Monumental architecture is inevitable to be forgotten. The nature of the cemetery is also a monument. It will only be remembered in a few days. How can it break the sense of isolation of the cemetery, can it exist in other forms? Partisan Necropolis in Mostar, Bosnia-Herzegovina, design by Bogdan BogdanoviÄ&#x2021;.

Under the monument, there are 810 soldiers who are fighting against Ustas and the German aggressors. The monument is a symbol of the city of Mostar. The rising terraces reflect the valleys and slopes of the city. The scattered stones engrave the names of the soldiers, symbolizing freedom and separation and getting rid of the pain.

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INTERPRETATION AND DEFINITION OF THE CEMETERY

Cemeteries in Heterotopia

Heterotopia in Foucault Heterotopia is a concept elaborated by philosopher Michel Foucault to describe certain cultural, institutional and discursive spaces that are somehow ‘other’: disturbing, intense, incompatible, contradictory or transforming. Heterotopias are worlds within worlds, mirroring and yet upsetting what is outside. Foucault provides examples: ships, cemeteries, bars, brothels, prisons, gardens of antiquity, fairs, Turkish baths and many more. Foucault outlines the notion of heterotopia on three occasions between 1966-67. A talk given to a group of architects is the most well-known explanation of the term. His first mention of the concept is in his preface to 'The Order of Things' and refers to texts rather than socio-cultural spaces.

Until the end of 18thcentury, Foucault notes, cemeteries were placed at the heart of the city in or next to the church, and were still deeply associated with sacred resurrection and the immortality of the soul. However, beginning with the early 1800s, cemeteries were banished to the outskirts in a “bourgeois appropriation” aimed at improved health, with the death becoming closely associated with illness. Moreover, as death is individualized, everyone needs his or her own space; thus the suburban cemetery becomes the city of the dead, both a space wherein everyone can eternally and individually lie and a kind of quarantine for death.

A cemetery is a heterotopia because the tombs form a sort of ideal town for the deceased, each placed and displayed according to his or her social rank. The cemetery gives the illusion to its visitor that their departed relatives still have an existence and status, symbolized by the stone of their tomb. It is a simulated utopia of life after death, but is also a representation of the real world, where blood affiliation, wealth and power play a central part.

Research Analysis Michel Foucault, 1926-1984

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The cemetery is a form of heterotopia that buryes people from different regions and different religions in different time and space.cemetery is the city of the dead, both a space wherein everyone can eternally and individually lie and a kind of quarantine for death.

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San Cataldo Cemetery / Aldo Rossi

Architects Aldo Rossi Location Modena, Province of Modena, Italy Category Cemetery Architect Aldo Rossi References MiMoa, Aldo Rossi Project Year 1971 Photographs Laurian Ghinitoiu

CASE STUDY

LOCATION - the reinterpretation of death Aldo Rossi, a man appreciated internationally for his theories, architecture and drawings, was one of the most prominent architects of his time. His desire to create buildings that reflected his social perspective and theories was reflected in most if not all of his buildings, but it was particularly evident in the San Cataldo Cemetery. In the early years, Costa designed the eastern side of the cemetery as a rectangular neoclassical building with a central inner courtyard. From the plane and the photo, we can clearly see a ritual space that Costa has created through the unique integrity and directionality of the rectangle. The classic commemorative plane defines the characteristics of the space. Rossi's planar layout follows Costa's planar prototype: a rectangular field of the same proportion sits on the west side of the old cemetery in an almost symmetrical manner, also using the organization of the axis, suggesting the special use nature of the space. However, unlike Costa's complete enclosure, Rossi's rectangle is asymmetrical in three dimensions: the structure in which the ashes are placed is placed in two U-shaped planes, leaving the north boundary defined only by a low wall, suggesting that the undead eventually Freedom of home. From south to north, from low to high, combined with the nature of the ritual space at both ends of the axis, the process from rest to ascension is carried out to the extreme. This is also the interpretation of death by Rossi on the prototype for the new space quality given to the new building.

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Case Study Analysis

The central axis is followed by public tombs, tombs, and mourning halls.

Another characteristic of a cemetery that distinguishes it from an ordinary house is its unique commemoration and place. In addition

a wall-mounted colonnade, emphasizing the particularity of the site. The first circle of tombs arranged around the cemetery, surrounded by

to the overall layout considerations mentioned above, Rossi also uses analogy in architectural design. In the design of the San Cataldo cemetery, Rossi used this composition method to express different meanings: on the main axis, the ash frame is arranged in a compact density and raised at a constant rhythm. The ritual space emphasizes in three dimensions: the cube's memorial has a matrix-like faรงade, with the exception of light-absorbing paint, without any decoration, while at the same time the shadow becomes a regular variant of this repeating element, A cycle of life is reflected in the centralized place. At the new entrance to the east side of the cemetery, Rossi adopted

a regular open-column gallery, strengthens the space of the key space. The space surrounded by the first tomb chamber and the second circle tomb is a low-density regular facade, which is closely related to the open space, showing the special atmosphere of the dead courtyard. In the second circle of tombs, the repeating matrix of the ashes on the unified scale gives the experienced a sense of oppression in the closed space. The promenade in the depth direction implies that life is endless.

The mourning hall is a colorful and massive cube structure. The conical structure of the public tomb is like a big smoke, and the tombs arranged in layers of equilateral triangles are like the ribs on the human torso.

Rossi said: The cemetery is a house built for the dead. So the courtyard, the corridor, the living room (tomb), the sloping roof, the window, the wall and the ground, and other types of elements related to the house are accommodated in the design of the tomb. Even the colonnade, the unique residential form of the Lombardy settlement, was reflected in the underlying design of the tomb. However, the residence of the deceased has a different characteristic from the ordinary residence: the underground courtyard of the deceased is formed by the soil taken from the construction of the underground tomb, and its spatial positive and negative relationship is opposite to that of a general courtyard residence. The living room of the deceased is not closed. There is no door in the entire cemetery. The living room of the deceased can be without a roof (the cube memorial). There is no window in the living room of the deceased (there are no windows in the original drawings of Rossi, and some windows are added during construction).

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Design concept

Tokyo vertical cemetery concept design

Design concept is based on a motto â&#x20AC;&#x201C; the end of life is not death; being forgotten is. In our design, we employ balloons as a media for commemorating the dead. The coffin for a deceased person is a two-meter-diameter helium balloon. Ashes were stored in an octahedral box at the center of the balloon, which is made of bio-degradable materials. Both the interior and the exterior of a balloon is coated first with flammable oxidizer and then covered with oxidation resistant materials. The balloon is tied to the ground by optical fibers with a countdown winch underground.

Architects Gong Kui, Zeng Wujing, Ma Zhiruo, He Weili Location Tokyo Category Cemetery Project Year 2017

Background The Project won the first prize of Tokyo Vertical Cemetery Competition. This project explores a new way of dealing with the spatial constrain for urban cemeteries while expressing a unique approach to life and death. By having the balloons as a medium for coffin storage, we utilize the vertical space by having balloons that gradually rise up and eventually fly off. The appearing and disappearing of balloons resonate with the temporality of life. Departing from the depressing silence in traditional cemetery design, we propose a new space of tranquility created by a tower of rising balloons.

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Every time a personâ&#x20AC;&#x2122;s ashes are put in a balloon, the winch starts counting down. At the same time, the balloon begins to rise. Whenever friends and families come to visit, the balloon pauses. If no visitor comes, the balloon keeps rising. The oxidation resistant coating protects the balloon from being weathered and allows it to stay floating in the open air. Eventually, when the optical fibers reach the end, the balloon flies to the sky until blowing off in the atmosphere. While traveling back from the atmosphere, the inner layer of oxidizer coating will ignite the whole balloon in the sky. With the rain and the wind, the ashes travels back to the earth.

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The Journey of a Ballon

As a balloon rises, a person is gradually being forgotten by the rest of the world. When the balloon finally flies to the sky, it means the person is fully buried into history. The rising process is a farewell ritual to the deceased. As balloons travel into the sky, the whole city participates in the commemoration of the deceased. The rising balloons not only remember the deceased but also remind the living, â&#x20AC;&#x153;In the long river of life, have you forgotten someone?â&#x20AC;? Undoubtedly, as time goes by, some people will be forgotten. Also, new ashes will be placed in the balloons. As the balloons rise one after another, the challenge of cemetery space has received a sustainable answer. Here, the course of life is represented by the rising balloons: unceasingly, lives come and go.

Case Study Analysis When designing a vertical cemetery in response to the challenge of limited space in the city, the cemetery can be something more than simply stacking in the vertical direction. There exists a more sustainable way to store coffins, to remember the dead, and to express a new way of looking at life and death.In the design of vertical cemeteries, the most common thing most people think of is to superimpose the traditional cemetery in the vertical direction to form a tower. But there is

This design concept solves the problem of cemetery space in a non-traditional way, and directly links the existence of the building with the spiritual sustenance of people. So that there is the idea of using balloons as an ashes container, using the floating of the balloon to take advantage of the vertical space, while breaking the eternality and indifference of the structure, creating a story about commemoration and eternity.

no doubt that no matter how such a design is modified, it is essentially a monument to a structure, creating a so-called eternal form.

Comparing to the heavy-hearted monuments, the lissome balloons represent a more peaceful relationship with death. The transient tower formed by the balloons is more conspicuous than any other building in the city skyline. For pedestrians walking on the streets, the balloons cast shades and shelter rain above their heads.

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Current Burial Option

RESEARCH ABOUT BURIAL METHOD

Research questions What are the existing burial methods? What is the best way to bury? Why? How does this change the form of the cemetery?

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DEATH DIPOSAL ANALYIS

RESOMATION Water cremation is the new alternative to flame cremation and burial. Giving people a new choice, environmentally friendly option that offers a natural process using water instead of flames. The body is placed in a coffin or shroud made from biodegradable materials and then carefully positioned in a water chamber. Instead of using fire, water cremation combines a water and alkali-based solution and this gentle method speeds up the natural process the body goes through at the end of life. The process is on average 3-4 hours long. The actual term Resomation was thoughtfully chosen using “Resoma” which is a Greek/Latin derivation for “rebirth of the human body” ie resolving the body back to the basic organic components and its rapid and beneficial return to our ecosystem to be re-used as nature had designed. Our bodies only borrow those finite organic/inorganic building blocks during our life and we need to eventually return them. This happens with water cremation as with natural burial.

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The benefits of Resomation

Independent environmental analysis (Sustain) has shown that the substitution of water cremation for flame cremation as part of a funeral will reduce that funeralâ&#x20AC;&#x2122;s emissions of greenhouse gases by approximately 35%.

An Independent Study in Holland by TNO demonstrated that water cremation had the lowest overall impact on the environment of all end of life options of body disposal including flame cremation, burial and freeze drying.

The energy needed for the average Resomation process in the form of electricity and gas is less than one fifth of the energy required for a typical flame cremation.

There are now over 7 billion human beings living on our planet and this number is increasing fast. The introduction of this third choice at the end of life has the potential to ease the pressure of burial space which in many countries is in short supply.

Research Analysis 1. Resomation is the most environmentally friendly burial method currently available. It requires the least amount of energy and produces the least amount of pollution. 2. As a new type of burial, Resomation is more difficult to accept than other traditional burial methods. 3. In the future, after people die, they do not need to be buried but become harmless liquids. The way of Resomation will make the cemetery no longer exist.

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CHINESE FUNERAL PROCESS RESEARCH

ABOUT FUNERAL

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FUNERAL CUSTOM STUDY IN CHINA

Research Analysis According to my observations in life, while analyzing Chinese funeral customs, I found that funeral is the most important activity in cemetery. This is a special ceremony. The meaning of the cemetery exists for the living. The location of the cemetery may not be the most important, but the ritual of the funeral must exist. People need a sense of ritual. People accept death and death while releasing the emotions during the funeral.

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Hierotopy Hierotopy (from Ancient Greek) is the creation of sacred spaces viewed as a special form of human creativity and also a related academic field where specific examples of such creativity are studied. The concept and the term were developed in 2002 by Russian art-historian and byzantinist Alexei Lidov. Hierotopy accounts for the ways in which a vast array of media (e.g. religious images, ritual, song, incense, light) are used to organize sacred spaces. As an academic field, it spans the disciplines of art history, archeology, cultural anthropology, ethnology and religious studies, but it possesses an object of study and a methodology of its own. It differs from the phenomenology of the sacred (which has been studied by Mircea Eliade, Rudolf Otto and Pavel Florensky) insofar as it focuses on historical examples of hierotopic projects, that is, projects establishing a medium of communication between the mundane and the sacred. Though related with religious mysticism, hierotopy deals first and foremost with forms of conscious, creative activity. According to the hierotopic approach, icons and other sacred artifacts are viewed not as isolated objects, but as components of larger hierotopic projects. Though such artifacts often play a prominent role in hierotopic studies, it is these projects themselves – including both their conceptual and artistic aspects, as well as the historical developments leading to their formation

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– that are the primary focus of study. The role played by the creators of sacred spaces is also of chief importance, and could be compared with that of an artist. The creative element at work here resembles the work of contemporary film directors, for both involve the coordinated effort of various artists and specialists in shaping a single, comprehensive vision. As examples of hierotopic projects, one can consider King Solomon's construction of the First Temple, the erection of Hagia Sophia by Emperor Justinian, as well as the work of Abbot Suger in the conception of first Gothic cathedrals. Hierotopic projects are not limited to churches and sanctuaries; in other cases, landscapes, architectural compounds and even cities and countries have become products of hierotopic creativity. The topics of hierotopic study cover a broad span of interests and range, for example, from the role played by light in church architecture to the study of religious ceremonies, feasts and folk customs. The comparison of hierotopic models at work in different cultures is another focus of interest.

Spatial icons The concept of the spatial icon plays a central role in hierotopy and is used to describe the perception of sacred spaces. Spatial icons are understood to play a mediating role between the mundane and the sacred. They are mediatory images that are evoked, for example, in the space of a temple or sanctuary. Hierotopic creativity is a sort of art, which can be described as the creation of spatial icons. This concept applies to the way in which the perception of architecture, light, image, ritual practice, as well as various other components forming sacred spaces, is unified into a single vision. It is also used in the study both of "sacred landscapes",

such as the New Jerusalem Monastery near Moscow, as well as of various ritual practices creating iconic medium, such as the Donkey walk in medieval Moscow. Spatial icons are essentially dynamic and performative in nature, such that the formal boundary between ‘image’ and ‘beholder’ no longer pertains. Typically, the beholders of spatial icons are actively involved in some way and become, to a certain extent, co-creators of the icons.

Research questions 1. In a cemetery, what is Hierotopy, can this be represented by a symbol? 2. What do the Spatial icons represent in the funeral ceremony?

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- 33 How can people from different religions accept Resomation?

Research question

Death is a religious matter, and it is difficult for people of different religions to bury the dead in a unified way.

Research conclusion

ABOUT WATER CEREMONY SNOIGILER TNEREFFID FO SDOHTEM LAIRUB

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Research question

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WATER IN RELIGIONS

Ritual washing Main articles: Ritual purification, Ablution in Christianity, and Ritual washing in Judaism Faiths that incorporate ritual washing (ablution) include Christianity, Hinduism, Buddhism, Sikhism, Judaism, Islam, the Bahá'í Faith, Shinto, Taoism, and the Rastafari movement. Immersion (or aspersion or affusion) of a person in water is a central sacrament of Christianity (where it is called baptism); it is also a part of the practice of other religions, including Judaism (mikvah) and Sikhism (Amrit Sanskar). In addition, a ritual bath in pure water is performed for the dead in many religions including Judaism and Islam. In Islam, the five daily prayers can be done in most cases (see Tayammum) after completing washing certain parts of the body using clean water (wudu). In Shinto, water is used in almost all rituals to cleanse a person or an area (e.g., in the ritual of misogi).

Research question What purpose does water appear in religious ceremonies? What is the meaning of water in different religions?

Water is considered a purifier in most religions.

A medieval mikveh for the purpose of ritual immersion in Besalú, Spain

Holy water Some faiths use water especially prepared for religious purposes (holy water in most Christian denominations, amrita in Sikhism and Hinduism). Many religions also consider particular sources or bodies of water to be sacred or at least auspicious; examples include Lourdes in Roman Catholicism, the Jordan River (at least symbolically) in some Christian churches, the Zamzam Well in Islam and the River Ganges (among many others) in Hinduism.

Immersion of deities In Hinduism, statues of Durga and Ganesh are immersed in rivers at the final stages of the festivals Durga Puja and Ganesh Chaturthi respectively. In Christianity the baptism of Jesus is an important moment in Christian theology and is the third most important feast of the Church, following Easter and Pentecost. Its feast, called Epiphany or Theophany, is celebrated on January 6. Ganesh Chaturthi in Mumbai, India.

A Hindu ablution as practiced in Tamil Nadu

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WATER CEREMONY

The religious historian Mircea Iliad stated in the 1950s that water is the "source and starting point, the storage of all possible things, the water above all forms, supporting all things in the world." Since the beginning of mankind, water has occupied an important position. According to legend, it has been the case before human beings appeared. In Genesis, God said that “there must be air between the waters”, so that the world is given life; the Babylonians believe that the world is a mixture of fresh water and salt water; the Pima Indians claim that the Mother Earth The conception of dripping water; the prototype of civilizations that have been destroyed by floods has emerged in Hebrew, Greek and Aztec cultures and is an integral part of these cultures.

Misogi

Night misogi under a waterfall at Tsubaki Grand Shrine

The Mayans believe that natural wells such as the Kexen Marshes in the Yucatan Peninsula of Mexico can lead to the underworld. Photography: John Steinmeier

Misogi ( 禊 ) is a Japanese Shinto practice of ritual purification by washing the entire body. Misogi is related to another Shinto purification ritual called Harae – thus both being collectively referred to as Misogiharae ( 禊祓 ). In Kyoto, people douse themselves under Kiyomizu Temple's Otowa no taki (Sound-of-Wings) waterfall, although the majority of visitors drink from the waters rather than plunging into them.Every year, many groups take pilgrimages to sacred waterfalls, lakes and rivers, either alone or in small groups, to perform misogi. Mount Ontake, the Kii mountain range and Mount Yoshino are but a few examples of ancient and well known areas for Misogi in Japan. In the United States misogi is performed at the Tsubaki Grand Shrine of America at the Konryu Myojin no Taki waterfall each morning.

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During the Miracles of Wonders in Verbonne, Haiti, a pilgrim bathed in the Sodeo Falls and enjoyed the joy of rejuvenation. Believers pray to the Virgin, summoning the legendary Loya, who lives in the waterfall, Voodoo and Christianity.

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ABOUT WATER PURIFICATION RITUALS AND TRADITIONAL BURIAL SITES

Roman catacombs Treatment of a corpse No explicit regulations are expressed in the bible concerning the treatment of a corpse itself, although historic rabbinical sources saw an implication that the dead should be thoroughly washed per Ecclesiastes, as children are washed when born; according to Eliezer ben Joel HaLevi, a prominent rishon, argued that the corpse should be cleansed carefully, including the ears and fingers, with nails pared and hair combed, so that the corpse could be laid to rest in the manner that the person had visited the synagogue during life. Washing of corpses was not observed among the Jews living in Persian Babylon, for which they were criticised as dying in filth, without a candle and without a bath; at the time, the non-Jewish Persians were predominantly Zoroastrian, and consequently believed that dead bodies were inherently ritually unclean, and should be exposed to the elements in a Tower of Silence to avoid defiling the earth with them.

The baptismal font for baptisms for the dead The fact that it was a wash basin which was too large to enter from above lends to the idea that water would likely have flowed from it down into a subcontainer beneath. The water was originally supplied by the Gibeonites, but was afterwards brought by a conduit from Solomon's Pools. The molten sea was made of brass or bronze, which Solomon had taken from the captured cities of Hadarezer, the king of Zobah (1 Chronicles 18:8). Ahaz later removed this laver from the oxen, and placed it on a stone pavement (2 Kings 16:17). It was destroyed by the Chaldeans (2 Kings 25:13).

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Roman catacombs are made up of underground passages (ambulacra), out of whose walls graves (loculi) were dug. These loculi, generally laid out vertically (pilae), could contain one or more bodies. A loculus large enough to contain two bodies was referred to as a bisomus. Another type of burial, typical of Roman catacombs, was the arcosolium, consisting of a curved niche, enclosed under a carved horizontal marble slab. Cubicula (burial rooms containing loculi all for one family) and cryptae (chapels decorated with frescoes) are also commonly found in catacomb passages. When space began to run out, other graves were also dug in the floor of the corridors these graves are called formae.

Tower of Silence near Yazd, Iran. The building is no longer in use. A Dakhma, also called a Tower of Silence, is a circular, raised structure built by Zoroastrians for excarnation – that is, for dead bodies to be exposed to carrion birds, usually vultures. The modern-day towers, which are fairly uniform in their construction, have an almost flat roof, with the perimeter being slightly higher than the centre. The roof is divided into three concentric rings: the bodies of men are arranged around the outer ring, women in the second circle, and children in the innermost ring. Once the bones have been bleached by the sun and wind, which can take as long as a year, they are collected in an ossuary pit at the centre of the tower, where – assisted by lime – they gradually disintegrate, and the remaining material – with run-off rainwater – runs through multiple coal and sand filters before being eventually washed out to sea. The ritual precinct may be entered only by a special class of pallbearers, called nusessalars, a contraction of nasa.salar, caretaker (-salar) of potential pollutants (nasa-).

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METAPHOR OF WATER

Research question Metaphorical relationship between water and post-mortem world

The underworld in Greek mythology Stepwell In the myth of India, water is the dividing line between heaven and earth. Therefore, the step well is not only a place for people and animals to drink and bathe, but also a place for prayer and practice. The structure and decoration of the well embodies the essence of Hinduism, and the builders of the wells give the ladder well a unique form with faith and a view of life and death. The step well is an iconic type of ancient Indian civilization that provides a variety of uses such as water storage, coolness, and prayer. In ancient times, step wells were the center of people's daily lives.

In mythology, the Greek underworld is an otherworld where souls go after death. The original Greek idea of afterlife is that, at the moment of death, the soul is separated from the corpse, taking on the shape of the former person, and is transported to the entrance of the underworld. The underworld itself—sometimes known as Hades, after its patron god—is described as being either at the outer bounds of the ocean or beneath the depths or ends of the earth. It is considered the dark counterpart to the brightness of Mount Olympus with the kingdom of the dead corresponding to the kingdom of the gods. Hades is a realm invisible to the living, made solely for the dead.

According to Iliad, Hades’ dominion lies between secret places of the earth. According to the Odyssey, one must cross Ocean to get there. His dominion was separated from the land of the living by the following rivers: Styx, Lethe, Acheron, Phlegethon, and Cocytus.

DESIGN PROBLEM How to apply these rituals to space? How to use water for rituals? What ritual can adapt to the burial method of RESOMATION?

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METAPHOR OF SHIP

Ship in Heterotopia Hades Hades and dog Cerberus God of: The Underworld, death, and riches Symbols: Scepter, Cerberus, drinking horn, and the cypress tree Parents: Cronus and Rhea Children: Melinoe, Macaria, and Zagreus Spouse: Persephone Abode: The Underworld Roman name: Pluto

Foucault remarks that the ship is the “heterotopia par excellence”. The ship is ‘a piece of floating space, a placeless place’; it functions according to its own rules in the space between ports, between 31Iwan Sudradjat / Procedia - Social and Behavioral Sciences 36 ( 2012 ) 28 – 34 cultures, between stable points. Since the sixteenth century the ship was simultaneously both the greatest instrument of economic development and the greatest reserve of imagination. Foucault observes that in “civilizations without boat, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates”.

Hades is a god in Greek mythology who rules the land of the dead called the Underworld. He is one of the three most powerful Greek gods (along with his brothers Zeus and Poseidon).

"......that the boat is a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea and that, from port to port, from tack to tack, from brothel to brothel, it goes as far as the colonies in search of the most precious treasures they conceal in their gardens, you will understand why the boat has not only been for our civilization, from the sixteenth century until the present, the great instrument of economic development (I have not been speaking of that today), but has been simultaneously the greatest reserve of the imagination. The ship is the heterotopia par excellence. In civilizations without boats, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates. "

Charon Another helper for Hades was Charon. Charon was Hades' ferryman. He would take the dead on a boat across the rivers Styx and Acheron from the world of the living to the Underworld. The dead had to pay a coin to Charon to cross or they would have to wander the shores for one hundred years.

Le Corbusier, cruise ships and buildings

—— Michel Foucault, Of Other Spaces: Utopias and Heterotopias, March 1967

Research Analysis Charon

In Greek mythology and the culture of most Western countries, the post-mortem world is underwater. The underwater world is a metaphor for the world of the dead. At the same time, the ship as a means of transporting the deceased also symbolizes a symbolic symbol of the transition of the living being from the living world to the world of the dead.

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Research question What is the mental process of accepting death? How to combine this process with a funeral ceremony?

Five processes of accepting death

THEORETICAL ANALYSIS

People are often reluctant to talk about death. For the death of a loved one, people are more attentive. For different religions, death has different meanings. Some religions believe that death is a positive thing, which means the completion of life. From the perspective of attachment theory, there are various emotional connections between people. These links bring us resources to prevent us from being hurt. Separation creates anxiety, and death as a permanent separation must have a huge impact. However, the first to fourth stages of the process can actually be shortened. I combine these five stages with the three processes of the ritual, allowing people to better accept death in the three processes of the ritual.

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The five stages of grief are chronologically: denial, anger, bargaining, depression and acceptance. The stages, popularly known by the acronym DABDA, include:

Denial

– The first reaction is denial. In this

stage, individuals believe the diagnosis is somehow mistaken, and cling to a false, preferable reality.

Anger

– When the individual recognizes that

denial cannot continue, they become frustrated, especially at proximate individuals. Certain psychological responses of a person undergoing this phase would be: "Why me? It's not fair!"; "How can this happen to me?"; "Who is to blame?"; "Why would this happen?".

Bargaining

– The third stage involves the

hope that the individual can avoid a cause of grief. Usually, the negotiation for an extended life is made in exchange for a reformed lifestyle. People

facing less serious trauma can bargain or seek compromise. Examples include the terminally ill person who "negotiates with God" to attend a daughter's wedding or an attempt to bargain for more time to live in exchange for a reformed lifestyle.

Depression

– "I'm so sad, why bother with

anything?"; "I'm going to die soon, so what's the point?"; "I miss my loved one; why go on?" During the fourth stage, the individual despairs at the recognition of their mortality. In this state, the individual may become silent, refuse visitors and spend much of the time mournful and sullen.

Acceptance

– "It's going to be okay."; "I can't

ABOUT THE CEREMONY

fight it; I may as well prepare for it." In this last stage, individuals embrace mortality or inevitable future, or that of a loved one, or other tragic event. People dying may precede the survivors in this state, which typically comes with a calm, retrospective view for the individual, and a stable condition of emotions.

Research Analysis In the five steps of accepting death, the focus is on the process of “acceptance”, while the first four steps can be shortened. So I want to explore how to shorten the first four steps in the funeral ceremony and let the people involved accept the death more quickly.

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Research questions What are the processes for conducting a ceremony?

Rite of passage

Original conception of a ceremony

In the book, Van Gunnapp's rituals that convert from one place to another or from one world to another are collectively referred to as passing rituals. He believes that completing a ritual requires three phases, namely separation, margin, or threshold, and aggregation. The liminal phase, which originated in the Latin lime, has the meaning of "threshold". In the separation stage, the ritual subject is separated from the original identity and status; in the threshold phase, the transitional subject is the ambiguous stage of getting rid of the original identity without obtaining a new identity, or it can be said that it does not exist in the structure. In the aggregation stage, the ritual subject gains new status and identity, and correspondingly acquires new rights and obligations.

In English, Van Gennep's first sentence of his first chapter begins: "Each larger society contains within it several distinctly separate groupings. ... In addition, all these groups break down into still smaller societies in subgroups." The population of a society belongs to multiple groups, some more important to the individual than others. Van Gennep uses the metaphor, "as a kind of house divided into rooms and corridors." A passage occurs when an individual leaves one group to enter another; in the metaphor, he changes rooms.

Initiation ritual of boys in Malawi. The ritual marks the passage from child to adult male, each subgroup having its customs and expectations.

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Jesus underwent Jewish circumcision, here depicted in a Catholic cathedral; a liturgical feast commemorates this on New Year's Day

Van Gennep further distinguishes between "the secular" and "the sacred sphere." Theorizing that civilizations are arranged on a scale, implying that the lower levels represent "the simplest level of development," he hypothesizes that "social groups in such a society likewise have magicoreligious foundations." Many groups in modern industrial society practice customs that can be traced to an earlier sacred phase. Passage between these groups requires a ceremony, or ritual hence rite of passage.

The rest of Van Gennep's book presents a description of rites of passage and an organization into types, although in the end he despairs of ever capturing them all: "It is but a rough sketch of an immense picture ...." He is able to find some universals, mainly two: "the sexual separation between men and women, and the magico-religious separation between the profane and the sacred." (Earlier the translators used secular for profane.) He refuses credit for being the first to recognize type of rites. In the work he concentrates on groups and rites individuals might normally encounter progressively: pregnancy, childbirth, initiation, betrothal, marriage, funerals and the like. He mentions some others, such as the territorial passage, a crossing of borders into a culturally different region, such as one where a different religion prevails.

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DATA SOURCES

Three steps of a ceremony Rites of passage have three phases: separation, liminality, and incorporation, as van Gennep described. "I propose to call the rites of separation from a previous world, preliminal rites, those executed during the transitional stage liminal (or threshold) rites, and the ceremonies of incorporation into the new world postliminal rites." In the first phase, people withdraw from their current status and prepare to move from one place or status to another. "The first phase (of separation) comprises symbolic behavior signifying the detachment of the individual or group ... from an earlier fixed point in the social structure."[6] There is often a detachment or "cutting away" from the former self in this phase, which is signified in symbolic actions and rituals. For example, the cutting of the hair for a person who has just joined the army. He or she is "cutting away" the former self: the

civilian. The transition (liminal) phase is the period between states, during which one has left one place or state but has not yet entered or joined the next. "The attributes of liminality or of liminal personae ("threshold people") are necessarily ambiguous." In the third phase (reaggregation or incorporation) the passage is consummated [by] the ritual subject." Having completed the rite and assumed their "new" identity, one reenters society with one's new status. Reincorporation is characterized by elaborate rituals and ceremonies, like debutant balls and college graduation, and by outward symbols of new ties: thus "in rites of incorporation there is widespread use of the 'sacred bond', the 'sacred cord', the knot, and of analogous forms such as the belt, the ring, the bracelet and the crown."

Research Analysis According to Van Gunnapp's theory, any ritual can be divided into separation, boundary and aggregation. How to apply these three phases to a funeral ceremony? How can people change the perception of death through the ritual of funeral and break the restrictions on death caused by different religions so that people can accept the burial method of Resomation?

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https://www.lisunphoto.com/the-city-view https://zhuanlan.zhihu.com/p/33818637 https://www.ducksters.com/history/ancient_greece/hades.php https://www.thoughtco.com/the-ancient-greek-underworld-118692 http://www.sohu.com/a/155055407_526372 http://blog.sina.com.cn/s/blog_4c3cb99a0100qfh2.html https://www.archiposition.com/items/20180525113319 https://www.researchgate.net/publication/275634035_New_Monumentalism https://www.ted.com/talks/alison_killing_transcript?4&language=zh-cn https://www.funeralservicetimes.co.uk/features/2018/09/10/resomation-the-flame-freecremation-that-could-be-coming-to-the-uk/ https://www.bbc.co.uk/news/resources/idt-sh/dissolving_the_dead https://www.guokr.com/article/440627/ https://en.wikipedia.org/wiki/K%C3%BCbler-Ross_model https://en.wikipedia.org/wiki/Misogi https://en.wikipedia.org/wiki/Mircea_Eliade https://en.wikipedia.org/wiki/Ganga_in_Hinduism https://en.wikipedia.org/wiki/Great_Pyramid_of_Giza https://en.wikipedia.org/wiki/Funerary_art https://en.wikipedia.org/wiki/Tower_of_Silence https://theculturetrip.com/north-america/usa/articles/sacred-geometrical-patterns https://www.thoughtco.com/rivers-of-the-greek-underworld-118772 http://www.estherchung.cc https://news.artron.net/20170221/n909816.html https://www.bbc.co.uk/news/resources/idt-sh/dissolving_the_dead www.resomation.com https://en.wikipedia.org/wiki/Rite_of_passage https://en.wikipedia.org/wiki/Holy_well https://en.wikipedia.org/wiki/Tishtrya https://www.gooood.cn/death-the-city-by-gong-kuiyu-zeng-wujingwen-ma-zhiruo-he-weili.htm https://kknews.cc/photography/l93ja4b.html https://kknews.cc/photography/xqlxj8r.html https://en.wikipedia.org/wiki/Catacombs_of_Rome http://www.lunwenstudy.com/yazhoushi/23377.html https://dummbleiben.wordpress.com/2012/04/11/jochen-gerz-%E8%B0%88%E7%BA%AA%E5 %BF%B5%E7%A2%91%E5%92%8C%E5%85%AC%E5%85%B1%E7%A9%BA%E9%97%B4/ https://www.douban.com/note/188149261/ https://www.archiposition.com/items/20180525104911

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REFERENCES

1. Saldanha, A., 2008. Heterotopia and structuralism. Environment and Planning A, 40(9), pp.2080-2096. 2. Saldanha, A., 2008. Heterotopia and structuralism. Environment and Planning A, 40(9), pp.2080-2096. 3. Van Gennep, A., 2013. The rites of passage. Routledge. 4. Wilson, S., 2008. Research is ceremony: Indigenous research methods. 5. Lidov, A., 2015. Creating the Sacred Space: Hierotopy as a New Field of Cultural History. SpaziPercorsiSacri. indb, 62(2). 6. Bissera V. Pentcheva. The Sensual Icon. Space, Ritual, and the Senses in Byzantium, Pennstate Press, 2009. 7. Kübler-Ross, E., 1973. On death and dying. Routledge. 8. Kübler-Ross, E. and Kessler, D., 2005. On grief and grieving: Finding the meaning of grief through the five stages of loss. Simon and Schuster. 9. Brent, M.R., 1981. An Attributional Analysis of Kübler-Ross' Model of Dying (Doctoral dissertation, Harvard University). 10. Chamberlain, G., 2007. Troubled waters: religion, ethics, and the global water crisis. Rowman & Littlefield Publishers. 11. Lucero, L.J. and Fash, B.W. eds., 2006. Precolumbian water management: ideology, ritual, and power. University of Arizona Press. 12. Singh, R.P., 1994. Water symbolism and sacred landscape in Hinduism: a study of Benares (Wassersymbolismus und heilige Landschaft im Hinduismus: Eine Studie aus Benares. Erdkunde, pp.210-227.

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