CRED I TS PHILADELPHIA UNIVERSITY S P R ING 2 0 1 5 R I TU A L & C U LTU R E : D EATH I N V EN I C E P R OF E S S OR B R I AN J OHN S T ON
I NDI VI DUAL WORK:
K r i s t i n Pool GROUP WORK:
K r i s t i n Pool A m a n da B o n el l i Ma t t h e w U l a s s i n
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E T E R E O INTRODUCTION G R O U P N A R R AT I V E I N D I V I D U A L N A R R AT I V E RESEARCH & METHODOLOGY PRECEDENT STUDIES PROGRAM DEFINITION
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E T E R E O delicate and light in a way that seems too perfect for this world.
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INTRODUCTION : V E N I C E , I TA LY
isola di san michele
San Michele is one of the many islands that dots the Venetian Lagoon in Northern Italy. From the main shores of Venice, one sees the island with its tall terracotta colored walls and tall rising cypress trees. The visible church, San Michele in Isola dedicated to Saint Michael the archangel sits as an anchor of pure white Istrian marble. The island contains an incredible history. Until the nineteenth century, Venetians usually buried their dead under paving stones located on the main island. This was deemed an unsanitary practice at the time- the Austrian occupation at the time decreed in 1837 that San
Michele be the only possible burial grounds for Venetians. Due to the island ’s small size, this is only a temporary resting place. After about ten to twelve years, the remains are dug up and sent to an ossuary on the mainland. Few privileged families
GARDENS OF SAN MICHELE |
and individuals stay on the island. 1
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burial plots
TRADITIONAL FUNERAL
|
venice canals
SAN MICHELE IN ISOLA
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SAN MICHELE :
existing conditions
IN-GROUND BURIAL sprawl condition
MAUSOLEUM stacking condition
CRYPTS building condition
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9
ITALY
religious background
1.5%
NO RELIGION
OTHERS
P R O T E S TA N T
1.9%
5.8%
1.6%
87.8%
1.4%
ORTHODOX JEW
ISLAM
C AT H O L I C I S M
8 7 . 8 % C AT H O L I C 30% PRACTICE This proposal aims to capture those less tied to traditional burial rituals. While almost 90% of Italian citizens themselves Roman Catholic, only 30% are practicing. This leaves an opportunity to introduce nontraditional methods into a culture dominated by custom.
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ITALY
age groups
21%
43%
65 YEARS +
25 - 54 YEARS
9.8%
12.4%
15 - 24 YEARS
13.8%
55 - 64
0 - 14 YEARS
66.6% 54 AND YOUNGER With a proposal of alternative burial methods, we look to a younger generation. As these generations grow, those who come after will continue these methods.
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GOALS
TO SHOW THAT DEATH CONTRIBUTES TO A MEMORY BEYOND ONESELF To instill the notion that burial can be more than self honoring, but a collective experience.
TO RE-ASSOCIATE THE BODY THROUGH SUSTAINABLE METHODS OF BURIAL To offer a secondary lens on how one perceives the breakdown of a body.
TO CREATE A CYCLICAL EXPERIENCE REFLECTIVE OF HUMAN LIFE AND DEATH PROCESSES To show that death can be more than a linear process.
TO CREATE A SENSE OF PLACE THAT RELATES TO THE EVOLUTION OF VENICE AND SAN MICHELE To view water as an essential building component of the addition.
ELEMENT
COMPOUND
GARDEN
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MEMORIALIZATION 1
COLLECTIVE MOURNING
INDIVIDUAL MOURNING
J O U R N E Y
1 2 3 2, 3
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Arrival and departure Death processes Collective memory sharing
COMPOUND :
foundation
DEFINITION Utilizing the human proportion [3’ x 9’] as a module for construction
HUMAN SCALE
HUMAN COMPOUND STRUCTURE
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GARDEN :
science
DEFINITION The re-association of the body into a garden.
THE MACHINE
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ELEMENT :
ceremony
DEFINITION Ritualistic connection to western ideals of water burial. It is the physical manifestation of the body having no resting place.
CY
CL
E O F
RE TU
RN IN
G TO
TH
A EB SIS
IFE OF L
CELL
FETUS
BIRTH
LIFE
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DEATH
CELL
the human experience CHARACTERISTICS:
still, sound of water, texture, cool, tranquil, isolated, shaded, directed views
individual or collective ceremony relating to the unique characteristics of the lagoon, water is the basis of culture QUALITIES:
I S O L AT E D
SHADED
TRANQUIL
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PRAGMATIC EXPERIENCE
: the element
P R O C E S S I O N : water & land access
AMINO
M E T H O D S : cremation, aquamation B U I L T : crematorium, ritual housing, morgue,
aquamation processing, distribution & counseling
CREMATION
1] BODY
PROCESS 1. Body is prepared removing any radioactive isotopes, prosthetics, implants or medical devices. 2. Body is placed in a flammable container and then entered into a pre-cremation chamber. 3. Incinerator must reach 1500 degrees Fahrenheit, and then the body is exposed to the flame in the chamber. 4. The body is burned f rom torso outward by f ire- bone becomes calcif ied and crumbles to ash. 5. Process takes roughly 2-3 hours and results in 3- 9lbs of bone ash
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2] RESO
3] 3 HOU
4] PROD
AQUAMATION PROCESS: 1. body is placed in a silk bag and loaded into a resomator 2. resomator is f illed with solution of potassium hydroxide alkali CARBOXYL GROUP AMINO 3. inGROUP 3 hours the body is broken down SIDE CHAIN GROUP 4. product is liquid containing amino acids, peptides, sugars & salts
AMINO GROUP 1] BODY IS PLACED IN SILK BAG AND LOADED INTO A RESOMATOR
CARBOXYL GROUP SIDE CHAIN GROUP
2] RESOMATOR FILLED WITH A SOLUTION OF POTASSIUM HYDROXIDE ALKALI 3] 3 HOURS BODY IS BROKEN DOWN 4] PRODUCT IS LIQUID CONTAINING AMINO ACIDS, PEPTIDES, SUGARS & SALTS 1] BODY IS PLACED IN SILK BAG AND LOADED INTO A RESOMATOR 2] RESOMATOR FILLED WITH A SOLUTION OF POTASSIUM HYDROXIDE ALKALI 3] 3 HOURS BODY IS BROKEN DOWN 19
4] PRODUCT IS LIQUID CONTAINING AMINO ACIDS, PEPTIDES, SUGARS & SALTS
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mapping out the process
INDIVIDUAL NARRATIVE : the element
We propose a scheme that rests on three equal programs.
The element exists within the system of components
GROUP NARRATIVE :
The Element (water), The Garden (organic), The Compound (built) aim to represent a memory devoted to the whole over the individual. All three components work to express one common goal: Re-association of individual memory to form places of collective remembrance.
representing the addition to San Michele. Collectively they aim to establish a re-association of an individual life to form a collective remembrance. The element establishes a new burial ritual, a housing for the new
ritual and an overall experience. The element engages the use of water with the analysis of neurological
processes of the brain related to meditation, prayer and reflection to create a new and relatable architectural experience.
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R E S E A R C H THE POETICS OF SPACE QUESTIONS OF PERCEPTION IN PRAISE OF SHADOWS O N W E AT H E R I N G BRAIN A VEHICLE FOR SPIRITUAL JOURNEY SHAMANISM AS NEUROTHEOLOGY N AT I V E A M E R I C A N D E AT H R I T U A L S & P R A C T I C E ANDREW NEWBERG NUMBER PRINCIPLES
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RESEARCH : the poetics of GASTON BACHELARD
space
T H E H O U S E . F R O M C E L L A R T O G A R R E T. T H E S I G N I F I C A N C E O F T H E H U T 1 3
-The real houses of memory , the houses to which we return in dreams, the houses that are rich in unalterable oneirism, do not readily lend themselves to description. To describe them would be like showing them to visitors. This
-All inhabited space related back to the home and our idea of a home or shelter. -This space relating to home constitutes memories and an image.
all relates to private memories and experiences.
-We are comforted individually and internally by reliving these memories of protection.
CAN WE DESCRIBE THESE MEMORIES THROUGH OTHER MEDIUMS?
THE HOUSE SHELTERS DAY DREAMING, THE HOUSE PROTECTS
-Things that are kept secret are never directly critiqued
THE DREAMER & THE HOUSE ALLOWS ONE TO DREAM IN PEACE
or subject to objectivity. Therefore, the ideas are in the purest form.
-The house is one of the greatest powers of integration for the thoughts, memories & dreams of mankind. -Solitude is essential in creating these moments of intimacy.
The description leaves the reader with just enough to
KNOWLEDGE OF INTIMACY, LOCALIZED IN THE SPACES OF OUR
complete his own idea and interpretation. Thus leaving
INTIMACY IS MORE URGENT THAN DETERMINATION OF DATES
room
-The idea of roads or paths symbolize passage of time, idea and space. -”It is the symbol and the image of an active, varied life.”
space, projected ritual and experience.
for
r e l a t a b i l i t y,
projected
memories,
projected
-The word habit is too worn a word to express this passionate liaison of our bodies, which do not forget. This is the basis for ritual.
SPACE CALLS FOR ACTION, AND BEFORE ACTION, THE IMAGINATION IS AT WORK.
-What attracts us to a new space is sometimes def ined as an idea, a moment or an experience.
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GESTALT PRINCIPLE : C L O S U R E closure occurs when an object is incomplete or a space is not completely enclosed. if enough of the shape is indicated people perceive the whole by f illing in the missing information.
PURE
PRIMITIVE
PERPETUAL
MATERIAL JOURNEY FORM
SHAPES DETAIL PROCESS
EXPERIENCE DESIGN CONNECTION
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RESEARCH : questions of perception HOLL, PALLASMA, GANET T HE S PAC E O F A R C H I T E C T U R E : MEA N IN G A S PRESEN CE A N D REPRES ENTATI ON 14
-The potential to transform the average human world into an inwardly reflective and self-referential entity
-Architecture constitutes the means and ends of an experience. -Design contains aspects of cultures- however f ragmented
comes f rom the vanishing points associated with churches and theaters.
societal ideas and traditions they must be acknowledged. -The possibility to reconsider the present ethics comes f rom the technologically advanced world we have created.
It is now man that contemplates the space of God, r e - p r e s e n t e d e x c l u s i v e l y a s a g e o m e t r i c e n t i t y. To e x p e r i e n c e t h i s e p i p h a n y, h u m a n b e i n g s m u s t l i t e r a l l y
THE ACTION OF CREATING- AS IN ARCHITECTURE WAS AN ACT
leave
OF AFFIRMATION TAKING PLACE IN A SPACE THAT WAS, FROM
aside
their
bodies
and
binocular
vision,
and
assimilate themselves with the geometric vanishing point-
ITS INCEPTION; SOCIAL, CULTURAL AND LINGUISTIC.
now truly a ‘point at infinity’
-Everything in the world is in a constant process of change. We should refer to those elements as qualities.
-Space and physical form are co-substantial and nature anchors these elements.
-’Prima Materia’ -We interpret spaces and forms individually and they become perpetual and ever-changing.
ARCHITECTURE IS THE ART OF SPACE
-The meaning of architecture lies within the individual experience. This creation is not deliberate nor transferable. It is f irst created by the world then experienced individually. -We must abandon ourselves in order to understand and experience these news ideas/spaces of architecture.
RITUAL ALLOWS PRIMITIVE MAN TO PROPITIATE THE EXTERNAL WORLD AND DWELL IN TOTALITY.
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RESEARCH : in praise of JUN’ICHIRO TANIZAKI
shadows
-Meditation requires dim light, faint glow, reflected to nature whether physically or visually. 15 1. Degree of Dimness
-Farmhouses give the impression of possessing far greater weight- height & surface than all that stands beneath the eaves.
2. Absolute Cleanliness
A SHADOWS ON THE EARTH & IN THE PALE LIGHT OF THE
3. Absolute Silence
SHADOW WE PUT TOGETHER A HOUSE.
IN MAKING FOR OURSELVES A PLACE TO LIVE, WE FIRST CAST
-There is a rare tranquility found in everyday light
-Elegance is f rigid -Wood, as it darkens and the grain grows more subtle with
-Gold retains brilliance while others fade. This is why gold was held in such high esteem.
years acquires an inexplicable power to calm and soothe. -We f ind it hard to be really at home with things that shine and glitter. -Admire the surface & the shadow -We prefer a denser luster to a shallow brilliance -Everything depends on shadows, even food -Our cooking depends upon shadows and is inseparable f rom darkness
GOTHIC CATHEDRAL ROOF RELATES AS SUCH; THE ROOF IS THRUST UP SO AS TO PLACE ITS PINNACLE AS HIGH IN THE HEAVENS AS POSSIBLE.
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RESEARCH : on weathering MOHSEN MOSTAFAVI & DAVID LEATHERBARROW
‘FINISHING ENDS CONSTRUCTION, WEATHERING CONSTRUCTS
“FUNCTIONAL DETERIORATION”
FINISHES’
-Weathering is a power of subtraction. At the same time it also provides entities of addition- in the form of build-up and sedimentation. 16
“The part
term of
a
weathering building
was
that
originally
projects
defined
beyond
the
as
a
surface
of any external wall and served as a ‘drip’ in order to d e t e r r a i n w a t e r. ” “ W h a t e v e r c o n t r o l s t h e a c t i o n o f t h e weather is referred to as the “weathering”. This means
IN THE PROCESS OF SUBTRACTING THE “FINISH” OF A
both
CONSTRUCTION, WEATHERING ADDS THE “FINISH” OF THE
the
process
ENVIRONMENT.
-The challenge is to utilize and and harness weathering to our abilities and use it to enhance and further emphasize our designs.
process is
and
controlled
the and
object allowed
through to
which
manifest
this
itself.
THE BUILDING’S REGENERATION & DEGENERATION EMPHASIZES THE TEMPORALITY OF NATURE AS AN ORDER OF BEGGING AND ENDING OR LIFE AND DEATH.
-Weathering is about a metamorphosis.
-Greater thickness of material usually results in longer durability. -Exposure to weathering elements involves sedimentation and the gathering of residual deposits. This is a testimony
“EVER-CHANGING FINISH”
-In a study f rom Holland, the limited variety of materials caused the people to become experts in that one particular mode of construction and assembly. This is important- you understand how the material works, how it weathers, how it is applied and ultimately its properties. -The breakdown or breakup of materials as a result of
to the time. -The value of erosion or the accumulation or dirt shows nature’s rightful claim it has on all works of art. -Weathering is the actual assimilation of an art work back to its location or f rom which it was f irst taken.
weathering might be called
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RESEARCH : brain a vehicle for spiritual journey ASHOCK PANAGARIYA
-while meditation is the means, spirituality, like happiness, is a state of mind, where a pain-f ree, relaxed joyful state of bliss exists -while spirituality is intensely personal, religion is societal
-neurotheology is the neurosceince of religion -Underlying question is whether the human mind and brain play any role in spiritual contemplation -I perceive spirituality as a state of mind, in the content and quality of consciousness
-The state is generally achieved through mindful meditation or through processes of artistic creation, extreme involvement, engrossment in an act or thought process of absolute choice
“It
appears
that
anything
which
induces
deeper
involvement in a given act with blockade of the external (environmental) or internal (conflicting thoughts) noises tend to activate the areas of dopaminergic mesolimbic system (the component of mind for pleasurable experiences)
THE BRAIN ACCOMMODATES BOTH HEAVEN AND HELL IN THE
and stimulates the areas of hypothalamus, which would
FORM OF POSITIVE AND NEGATIVE THOUGHTS
r e d u c e s t r e s s a n d e n h a n c e i m m u n o l o g i c a l r e s p o n s e s . � 17
-Positive emotions induce anabolic and parasympathetic activity, strengthen the immune system, dampen stress
reactivity and lengthen the telomere -Negative emotions are catabolic and induce sympathetic activity -Neurological researchers have identif ied biological mechanisms, the neural pathway of the median brain and the meolimbic pathway of pleasure in human beings. THE GREATEST SOURCES OF HAPPINESS ARE POWER, ACHIEVEMENT, RECOGNITION AND AFFILIATION 32
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RESEARCH : shamanism as neurotheology MICHAEL WINKELMAN -Shamanism is humanity’s most ancient spiritual, religious,
THE GREATEST SOURCES OF HAPPINESS ARE POWER,
and healing practice. -Central to shamanic ecstasy is the soul journey or flight, where the shaman’s soul or spirit departs the body and travels to other places. Soul journey was also used for contracting spiritual forces, determining distant conditions
ACHIEVEMENT, RECOGNITION AND AFFILIATION
SHAMANIC RITUAL WAS THE MOST IMPORTANT GROUP EVENT,
opiates through a variety of mechanisms (fasting, water restriction, strenuous exercise, hyper-stress of emotions etc.)
-Community rituals are fundamental aspects of shamanistic healing practices, producing psychosocial influences and psycho-biological effects. -Communal rituals elicit attachment and affectional
bonds and psychophysiology mechanisms that release endogenous opiates and produce psycho-biological synchrony in the group. -Shamanic healing rituals produce a release of endogenous
or the fate of separated family members, f inding lost objects, and escorting souls to the land of the dead. -Shamans’ initiatory periods involve an experience interpreted as a death and rebirth STRUCTURING RELATIONSHIPS OF THE INDIVIDUAL TO THE COLLECTIVITY AND THE COSMOS
-Shamanic ritual activates functions of the paleommalian brain involving self, attachments, and emotions.
-Principal psycho-biological foundations of shamanistic healing involve the structures, functions and effects of
ecstasy. -They reflect fundamental principles of the human nervous system, involving natural reactions that induce the relaxation response and brain synchronization. -They involve high-voltage, slow-f requency brain wave activity originating in the limbic system- brain stem connections that drive synchronizing patterns into the
This
spirit
world
concepts
can
be
reinterpreted
in
a
neurophenomenological framework as reflecting fundamental structure of consciousness and processes of the human brain.4
f rontal cortex
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RESEARCH : native american death ritual & practice LENNI LENAPE INDIAN TRIBE Native American burial & death customs stand as a sustainable, evolving and spiritual experience. Their customs have been shaped by differing environments, social structure, and spiritual beliefs. Native American tribes evolved methods of caring for their dead that reflected seasonal movements or the lifestyles of settled environments in a f ixed location. As they progressed, they utilized methods such as encasement or earthen burial, sub-surface internment, cremation and exposure. One specif ic tribe that contains the most relatable
mound-building Hopewell settlements of the northwest placed their dead in lavish tombs. Southeastern tribes practiced a method known as secondary bone burial which involved burying the dead, digging up the corpse, cleaning the bones and then reburying them. Other tribes practiced methods such as mummif ication, burning corpses as well as placing their dead on tree platforms or scaffolds. 21 DEATH RITUALS WERE VERY IMPORTANT TO THE LENAPE
methods are the Lenni Lenape Indian Tribe. It is essential to look at the practices f rom the Lenape and other tribes in order to craft a sustainable system, typology and method of handling the dead. 19
The Native American belief of death is cyclical- the body comes from the earth and is ultimately returned to the earth. They believe that through these rituals and practices that t h e d e a d r e t u r n s t o t h e p u r e s t p a r t o f t h e w o r l d - n a t u r e . 20
Overall, burial customs varied greatly f rom tribe to tribe. Native Americans disposed of their dead in a multitude of
ways. For example, Arctic tribes simply left their dead on the f rozen ground for wild animals to devour while, the ancient 36
INDIANS IN PARTICULAR. THE LENAPE PLACED THEIR DEAD IN A GRAVE LINED WITH TREE BARK OR GRASS MATS AND GIVEN A CONTAINER OF FOOD TO FEED THE DEAD SOUL.
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The Lenape are considered to be one of the oldest tribes in the Northeastern United States- existing for over ten
thousand years. The Lenape are notorious for associating themselves as being one with nature, tradition and ritual. Three major groups clans existed within the Lenni Lenape tribe; the wolf, turtle and turkey. Each clan resided in a different geographic location and had specif ic roles and duties. Up until the late 1700s there was a fourth- the crow or raven clan. This clan’s particular role was to prepare the dead for ceremonial activities and ‘internment’. 23
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RESEARCH : andrew newberg HOW DO MEDITATION & PRAYER CHANGE OUR BRAINS? -To look at the neurophysiology of religious and spiritual practices, Newberg performed brain imaging technology called single photon emission computed tomography (SPECT ). This allows blood flow to be measured. -The more blood flow a brain area has, the more active it is
W H Y D O W E B E L I E V E W H AT W E B E L I E V E ?
BELIEFS ARE BASED ON FOUR KEY COMPONENTS: PERCEPTIONS, EMOTIONS, COGNITIONS, AND SOCIAL INTERACTIONS.
(descending in color intensities)
-These components all intersect in the workings of the human brain, thus enabling us to have all our own beliefs. -The brain requires beliefs in order for us to survive. We
-In order to understand why religion and meditation has certain affects on the brain, neuroscience is used as a
need to hold beliefs about how the world works throughout our entire life.
m e d i u m f o r t e s t i n g a n d h e l p i n g t o p r o v e t h e o r y. 5
DO THE TEMPORAL LOBES EXPLAIN RELIGIOUS EXPERIENCES?
-The amygdala and hippocampus have been shown to be
particularly involved in the experience of vision, profound experiences, memory and meditation. -Newberg believes that the temporal lobe must interact with many other parts of the brain to provide full range of religious and spiritual experiences.
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BASELINE SCAN
ACTIVE SCAN
COMPARISON OF BASELINE TO PRAYER : Inferior Parietal Lobe Studies of the brains of Franciscan nuns in prayer, showed increased activity
in the frontal lobes, but also increased activity in the inferior parietal lobe (the language area). This makes sense in relation to a verbally based practice rather than L A N GU AGE C E NT E R
visualizaton.
LANGUAGE CENTER
COMPARISON OF BASELINE TO PRAYER : Superior Parietal Lobe The nuns also showed decreased activity in the orientation area of the brain (the superior parietal lobe).
ORI ENTATI ON AREA AT T ENTI ON AREA
O R I E N TATI O N AR E A
ATHEIST AT BASELINE CONTEMPLATING GOD : Frontal Lobe
ATTEN TI O N AR E A
Studies of a long-term mediator who was also an atheist was conducted. The
person was scanned at rest and then while meditating on the concept of God. The results showed that there was no significant increase in frontal lobes (as with other meditiation practices). The implication, is that the individual was not able to activate the structures usually involved in meditation when not focusing on a believed topic.
IMAGES AT BASELINE & DURING MEDITATION : Parietal Lobe
Scans were taken of the brains of Tibetan Buddhist meditators. In these scans it was apparent that there was decreased activity in the parietal lobe during meditation. This area of the brain is responsible for giving us a sense of orientation in space and time. This results in a hypothesis that blocking all sensory and cognitive input during ORI ENTATI O N AR EA
O R I E N TATI O N AR EA
meditiation is associated with the sense of no space and time so often decribed in meditation.
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RESEARCH : number principles THE THIRD DIMENSION | THE NUMBER THREE The number three has many spiritual and ritualistic meanings. The number three takes many routes and has several underlying principles. One of the main principles lies in the meaning of the third dimension. It is believed that as spiritual beings we complete things in cycles of
ONE
three. Thus they will manifest into our physical real. The roots for this stems f rom the meaning of multiplicitycreative, power and growth. The number three symbolizes the moving forward of energy, overcoming duality,
expression, manifestation and synthesis. It is also essential to recognize the series of three as being a number in wholeit contains a beginning, middle and end.
TWO
The power of the number three is also universal and
represents the nature of the world- heaven, earth and the waters. It is human as the body, soul and spirit. Three is also birth, life and death. It is a complete cycle unto itselfpast, present and future. 14
THREE
‘THE SYMBOL OF THREE IS THE TRIANGLE. THREE INTERWOVEN CIRCLES OR TRIANGLES CAN REPRESENT THE INDISSOLUBLE UNITY OF THE THREE PERSONS OF THE TRINITY.’
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t y p i c a l b u r i a l pl o t s i z e 3 x 9
0
1
2
c e nt ra l a x i s po i nt : a x i a l s y m m e t r y p r o po r t i o na l g r i d o f ni ne s eg m e nt s
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3
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P R E C E D E N T S CARLO SCARPA: BRION CEMETERY TA D A O A N D O : WAT E R T E M P L E PETER ZUMTHOR: BRUDER KLAUS FIELD CHAPEL NICHOLAS SZCZEPANIAK: DEFENSIVE ARCHITECTURE SHINICHI MARUYAMA: KUSHO
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PRECEDENT : brion cemetery C A R L O S C A R PA , S A N V I T O D ’ A LT I V O L E The complex was commissioned by Onorio Brion Tomasin who wanted a place to honor her deceased husband. The complex was constructed between 1970-78. It is roughly 2,000 square meters and the shape of an upside down ‘L’. The use of heterogeneous materials such as concrete, bronze, glass, ebony, ivory, granite, brass, copper and marble create intrigue for its visitors. Carlo Scarpa is also buried on this site. ’THIS CEMETERY IS A PLACE FOR THE LIVING.’ 15
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PRECEDENT : water temple TADAO ANDO-SHINGONSHU HONPUKUJI, JAPAN The Water Temple is the residence of the Ninnaji Shingon, the oldest sect of Tantric Buddhism in Japan. The Temple employs a series of different architectural spaces that symbolize a succession of theaters for initiation. Approaching the temple, one ascends the divided water passageway into a place which is meant to transcend day-to-day life. Within this temple architecture and nature lead to meditation and asceticism. 16
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PRECEDENT : bruder klaus field chapel PETER ZUMTHOR: MECHEMICH, EIFEL GERMANY The design, which sits as a landmark in Germany’s natural landscape, was constructed by local farmers who wanted to honor their patron saint, Bruder Klaus of the 15th century. The method of construction involved creating a wigwam of 112 tree trunks. Upon completion of the f rame, layers of concrete were poured and rammed atop the existing surface. Once the concrete was set,
the wooden f rame was set on f ire- leaving behind a hollowed blackened cavity & charred walls. On the interior, gaze is pulled up by the point where the roof is open to the sky. This controls the weather of the chapel- as rain and sunlight both penetrate the opening and create an experience that is very specif ic to time of day and year.
’IN ORDER TO DESIGN BUILDINGS WITH A SENSUOUS CONNECTION TO LIFE, ONE MUST THINK IN A WAY THAT GOES FAR BEYOND FORM & CONSTRUCTION.’ 17
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PRECEDENT : a defensive architecture NICHOLAS SZCZEPANIAK, UNIVERSITY OF WESTMINSTER This thesis project intends bring awareness to the potentials of the built environment in the future if things such as climate change are not addressed. The principle roll of the tower is to act as an environmental warning device. It creates noises such as breathing, creaking, groaning, sweating and crying once stressed. Air bags on the face of the towers expand and contract while the tensile trunks are activated carrying water to the surface of the facades ultimately creating steam. An empty watchtower at the top of each tower gives the impression that the f ragile landscape below is constantly surveyed. Internally the towers serve as a repository for mankind most valuable asset; knowledge. ’THE ARCHITECTURE IS A KNOWLEDGE ARK, WHICH PROTECTS FROM CUMULATIVE AND CATASTROPHIC DETERIORATION.’ 18
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PRECEDENT : kusho SHINICHI MARUYAMA Liquids, like ink, are elusive by nature. As sumi ink f inds its own path through the paper grain, liquid f inds its unique path as it moves through air. The artist fashions a large “brush” and a bucket of ink to create these photographs. He describes each stroke as unique & ephemeral. They can never be copied or recreated. ’IN EACH MOMENT, IT BECOME A BEAUTIFUL FIGURE WHICH CAN BE DEFINED AS A “PART MAN-MADE AND PART NATURAL” SCULPTURE.’ 19
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V E N E T I A N
C U L T U R E
COMPONENTS THE DOOR | PORTA D’ACQUA Kolumba Museum Door : Peter Zumthor Storefront for Art & Architecture : Steven Holl
& Vito Acconci
THE WALL | IL MURO The Animal Wall : Gitta Gschwendtner The Slit House : EASTERN Design Office
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VENETIAN CULTURE : PORTA D’ACQUA
door
The porta d ’acqua or “water gate” is a door that marks the threshold between inside and outside. This type of door also symbolizes the separation between land and water. It symbolizes the dividing element between solid and the liquid of the sea. The simplicity of doors especially within early venetian palaces expresses that the entrance to a private casa not be or pretend to be triumphal.
Due to the increase in water levels in Venice, many doors, entrances and landing docks are underwater permanently. There has been an addition to these entrances “protheses” in order to access these palazzo f rom the water. In many cases, these entrances have been walled over with their steps entirely submerged in water. 20
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PRECEDENT : door KOLUMBA MUSEUM DOOR | PETER ZUMTHOR The museum is located in Cologne, Germany. The site was almost destroyed during World War II and currently houses the Roman Catholic Archdiocese’s collection of art spanning more than a thousand years. Peter Zumthor’s design rises f rom the ruins of the late church. The design respects the site’s history while simultaneously preserving its essence. The museum is intended to be a place for reflection. It reflects an ongoing dialogue between
past and present. One of the main concerns for this project was materials. Zumthor utilized grey brick to unite the destroyed elements of the site. The bricks used for this project were f ired with charcoal to create a warm hue. One of the most unique elements of this museum is the door. The three organic circles relate to human scale and touch. The thickness and dominance of the door helps to serve as a threshold. 21 ‘[THE MUSEUM] SPEAKS TO ALL THE SENSES. A PLACE AS EVOCATIVE AS IT IS INTELLECTUALLY AND PHYSICALLY STIMULATING’ 22
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PRECEDENT : door STOREFRONT FOR ART & ARCHITECTURE | HOLL & ACCONCI In 1992, architect Steven Holl & artist Vito Acconci were commissioned by codirectors Kyong Park and Shirin Neshat and curator Claudia Gould to transform the storef ront for Art and Architecture in New York. The design inserts a series of hinged panels in a puzzle-like conf iguration into the facade. When the panels are locked into their open position, the facade dissolves and the interior space expands out and onto the sidewalk. The facade blurs the divisions between public and private space but also the line between art object and architectural artifact. 23
‘THE TOTAL PERCEPTION OF ARCHITECTURAL SPACES DEPENDS AS MUCH ON THE MATERIAL AND DETAIL OF THE HAPTICK REALM AS THE TASTE OF A MEAL DEPENDS ON THE FLAVORS OF AUTHENTIC INGREDIENTS’ 24
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SITUATION NY | INSTALLATION JANA WINDEREN & MARC FORNES This installation of porous pink walls of the form announce its form f rom the sidewalk and hingedpanel storef ront. This installation is about the sights, sounds and movement of bodies throughout the spaces- both inside the installation and between the
storef ront space. It combines to create an otherworldly experience. It conforms the dictation and formation of space. 25 61
VENETIAN CULTURE : IL MURO
wall
C O N C R E T E WA L L S
Reinforced concrete does exist in Venice- however older structures did not use reinforced concrete structure because they did not want the building to lay heavily on its foundations. The passing of time brings out the differences between a traditional elastic f rame and the non-ductile reinforced concrete. This results in a slow process of separation, f issures, breaks and cracks. PA R T I T I O N WA L L S
Partition walls were needed within Venetian homes as the uses and activities changed within each space. Sixteenth century theorists illustrated how partition walls worked. They utilized scorzoni (planks of wood made f rom tree trunks) and cantinelle (wooden laths) nailed at a f ixed distance. Plaster was then applied to the surface. WA I L I N G WA L L S
In the nineteenth century the main island of Venice could no longer support the dead. Burials were regulated at this time to the island of San Cristoforo and later San Michele in 1835. On the island, it was decided amongst other burial rituals to place the majority of the dead within niches, their identical openings in a seemingly long wailing wall. This wall was designed in order to create a more peaceful and happy setting. The process entailed one to hold their head high, looking for a specif ic name amongst a crowd. These walls were comprised of basalt rock f rom Etna, reinforced by concrete. 26 62
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PRECEDENT : wall ANIMAL WALL | GITTA GSCHWENDTNER This installation was built in Cardiff Bay, United Kingdom for its local birds and bats. This 50 meter wall includes 1000 houses for birds and bats. This wall also serves as a physical barrier between a residential community and the river f ront. This installation was commissioned by Charles Church Developments and took two and a half years to complete. It’s main goals are to
provide areas for these animals due to the depletion of natural bird habitat. Working alongside an ecologist, four different nesting typologies have been created in this custom made woodcrete clad wall. 27
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PRECEDENT : wall THE SLIT HOUSE | EASTERN DESIGN OFFICE Japanese architects f rom Eastern Design Off ice have designed an entire house utilizing slits instead of windows in Shiga, Japan. The house contains sixty slits all varying in size, orientation and location. The entire design is based behind the architecture of the wall- stretching 105 meters in length it f ills the site and brings awareness to the narrow and compressed nature of the location and environment. Their method of design works to distinguish the outline of the form and abstract the stance of the architecture. 28 ‘THE SLITS MAKE US MORE SENSITIVE TO LIGHT. THE INTERIOR SPACE IS LIGHT BEYOND OUR EXPECTATIONS. LIGHT THROUGH THE SLITS VARIES ITS APPEARANCE MOMENTLY ACCORDING TO WEATHER, SEASON AND TIME’
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P R O G R A M M I N G PROGRAM PRECEDENTS PROGRAM DEFINITION & CHARACTERISTICS PROGRAM SIZE & CAPACITY
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PROGRAM PIECE : DEFINITION:
oratory / chapel
Oratory: a small chapel especially used for private
worship. Chapel: A small building for Christian worship, typically one attached to an institution or private house.
GALLARUS ORATORY
DINGLE PENINSULA, IRELAND A dry stone church built between the 6th and 9th century is the best preserved early christian church in Ireland. 29 68
ST. CATHERINE’S ORATORY
ISLE OF WIGHT, ENGLAND The Oratory is situated on St. Catherine’s Hill on the
Isle of Wight overlooking Chale Bay. It is the site of a prehistoric burial mound.
The oratory was completed in 1328 by Walter de Godeton, a local landowner who was condemned by the church for stealing. The Church threatened de Godeton with excommunication unless he built a lighthouse with an adjoining oratory. 30 69
THE CAPPELLA SANT’ANNA
V I A R E G G I O ’ S H A M L E T, I TA LY This 1970s chapel located in north-west Italy was
ugraded by the Italian off ice Studio Galantini. The original wooden structure was replaced by steel. 31
“We were captured by the structural purity and by the formal simplicity of the chapel, qualitied that totally integreate it into nature” -Marco Biondi, Architect
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CHAPEL IN THE WOODS
PA R M A , I TA LY This project creates a place of prayer that is related to the naturally hilly landscape. The wall f ragment and cross serve to draw in the visitory and engage with the site. 32
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PROGRAM PIECE : DEFINITION:
ritual housing
This new architecture typology will serve as the vessel in which the ritual and the
release of aquamation or ashes occurs. This typology signif ies the Indian step-well or water pond.
ADALAJ STEP WELL GUJARAT, INDIA The stepwell was built in 1499 near the Ahmedabad in the Gandhinagar Distric of India. This four level well is dug directly into the water table. This exposes f resh water that rose and fell according to the seasons and the amount of waterfall. The space also provides a cool relief f rom the desert sun. 33 72
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PROGRAM PIECE : ritual housing NEANDERTHAL MUSEUM | PETER ZUMTHOR This new architecture typology will serve as the vessel in which the ritual and the
release of aquamation or ashes occurs. This typology signif ies the Indian step-well or water pond. 34
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CEREMONY-BASED PROGRAM
WAT ER RI TUA L
ORATORY
[PRIVATE CEREMONY]
[PUBLIC CEREMONY]
P R I VAT E ENCLOSED SHADED COOL DIRECTED LIGHT S O U N D O F WAT E R
TRANSITION ENCLOSED DIRECTED LIGHT SOLEMN P U R E M AT E R I A L R E L ATA B L E F O R M
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PROCEDURE-BASED PROGRAM
CREMATO RI U M & MO RG U E
DISTRIBUTION SPACE
COUNSE L ING SPACE
[TANKS INCLUDED]
[ACQUIRING ASHES & WATER]
[ORATORY LEVEL]
P R I VAT E ENCLOSED HIDDEN S H E LT E R E D SOUND PROOF DISGUISED
P R I VAT E PA R T I A L LY E N C L O S E D HIDDEN SUB-GRADE S H E LT E R E D SOUND PROOF
PUBLIC SHADED DIRECTED ACCESSIBLE S H E LT E R E D SECTIONED
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M E T H O D O L O G Y F O R M & T H E C R E AT I O N O F S H A D O W Ritual Housing Development Ritual Housing Shadow Studies Ritual Housing Form Studies Oratory Development
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METHODOLOGY : ritual housing development SHADOW STUDIES In order to create an architectural typology that would inspire spirituality, inward thinking, contemplation
and solitude light was studied and its affects on interior conditions of certain forms. The light within this ritual housing has to cast subtle but captivating forms. By manipulating the shape of the cube one creates a sense of depth, directed views as well as points of focus.
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PROGRAM PIECE:
FORM STUDIES
ritual housing development
The form desired for the ritual housing stemmed f rom the forms of the ancient Indian stepwells. The connection to water, material and self required a pure and simplistic form. The housing for both the ritual and the oratory space acts as one entity. A singular sculptural form is the vessel for re-association, connection and spirituality.
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The form is reduced f rom multiple housings to a singular piece. light, shadow and material bind the two realms and puncture through the program. ‘EACH SITUATION REQUIRES A NEW ARCHITECTURE’ -JEAN NOUVEL
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METHODOLOGY : oratory development SHADOW & FORM STUDIES The oratory serves as a worship or reflection space geared towards the individual or the collective. It is in this place that visitors or mourners can hold their own religious/ non-religious services. The shadow within the space must cast a very specif ic type of light and emphasize a distinct form. The oratory captures light in a way that can provide both a solemn and mournful type atmosphere at certain times of the day. At the same time, light must also be able to provide a joyous and celebratory type of space for those
who emphasize celebration of life. Through the passage of time and direct manipulation of form, the light cast on the interior of the oratory is able to accommodate all needs through different times of the day as well as different seasons throughout the year.
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S C H EME D EV ELO PMEN T S C H E M E I T E R AT I O N [ 1 ] Plan Diagram Circulation Diagram Plan Form Release Vignettes Oratory Vignettes S C H E M E I T E R AT I O N [ 2 ] Plan Form Vignettes
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SCHEME ITERATION [1]:
schematic plan 88
PLAN FORM:
multiple release housing 89
VIGNETTE:
individual release housing 90
VIGNETTE:
release housing overall 91
VIGNETTE:
individual release housing 92
VIGNETTE:
oratory vignette 93
SCHEME ITERATION [2]:
schematic plan
94
VIGNETTE:
approach to addition 95
VIGNETTE:
singular release housing 96
VIGNETTE:
section through element 97
VIGNETTE:
oratory entrance 98
VIGNETTE:
oratory interior 99
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FI N A L D ES IGN PLAN LEVEL 1 PLAN LEVEL 2 D I A G R A M : C I R C U L AT I O N VIGNETTE : LAGOON ENTRY VIGNETTE : APPROACH DOOR DETAILS VIGNETTE : RITUAL HOUSING VIGNETTE : LEVELS V I G N E T T E : O R AT O R Y VIGNETTE : THE WALL VIGNETTE : LOOK OUT VIGNETTE : ASCENT
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“And off in the far distance, the gold on the wings of the angel atop the bell tower of San Marco flashed in the sun, bathing the entire city in its glistening benediction.� -DON N A L E ON , DE AT H I N A S T R AN GE C OUN T R Y
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c i rcu l a t i on
mo r g u
ia
zz a
potential vaporetto connection
tow
e
r1
entry from san michele
e n tr
y
p
e en tr
y
b
a
c
le vel one
104
d
a
ritual housing
b
body processing
c
distribution
d
morgue
c i rcu l a t i on
tow
e
r2
e
mourn er
arden ’s g
f g
e f g
le vel t wo
105
oratory body processing 2
information
DIAGRAM:
overall scheme highlighted 106
san
mi
che
le
ue
mo
DIAGRAM:
site circulation 107
to s top
m
doc k
ret
fro
po
ry
rg
ent
to route
va
GATEWAY :
lagoon approach
Rising f rom the waters, a system of expansion emerges. It is a nod to the past and present. Its form morphs, consumes and releases. It speaks of life, death and the cycle of the world.
lagoon entry 108
GATEWAY :
land approach
Reaching the threshold between old and new, one is faced with the absence of def inition. They are presented with a realm of unfamiliarity.
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P R I VAT E T H R E S H O L D
porta d ’acqua As one encounters the entry piazza, a
massive concrete and textural door guards the ritual housing realm of the expansion. This door is recessed, two-part and relates to the human proportion.
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d o do or odre tdaeitla i: lo p e: no ppeons ipt oi os int i o n
d o do or odre tdaeitla i: lp i v: opti vpoo ts ipt oi os int i o n
f o c a fl om c aalt emr ia at le rpi ua n l cptuunr ce t u r e 111
o r a t o r ay t ol er vy e l e v e l
o r a t or y
r i tual ho us i
ng
&
112
d o o r d e t a i l : open
d o o r d e t a i l : pivot
position
position
focal material puncture oratory level
form cut-outs for light penetration
ribbed-form concrete wall insert
connection focal material (beton brut) wood raised platform niche cut-outs for urns & momentos low form cut-outs for light penetration release level
r i t u a l h o u s i n g : exploded 113
axon
FOCAL POINT :
complete ritual housing
One unit fulf ills the individual and the collective. It represents an inward focus, stark aesthetics, and a meditative environment with directed views and light. The form signif ies a realm of transition and a place for the living.
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levels 115
PROGRAM PIECE :
water ritual housing
The space captivates its visitor. It encourages one to become lost in though and memory. The cool, dark
shelter provides protection while it shields and touches the sea. Within this space, one becomes the water- the moment forever enshrined.
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PROGRAM PIECE :
oratory
The form appears to rise f rom below. A growth or gift f rom the sea. It is a place to celebrate, mourn and
contemplate. Memories and ideas are reflected against its harmonious and singular material. The passage of time is marked in material.
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PROGRAM COMPONENT :
processing, distribution & information
This portion of the complex serves as an extension of the wall. It is meant to control the views, access and source of information that is portrayed throughout the processing of the body. The actual cremation and aquamation services are not visible to the visitor or mourner. There is a separate component piece that provides access for those collecting the products of their loved ones or those who would like to gain information on the processes.
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g
p ro c e s
ion
sin
u t i on & i nf or m
at
,d
r ib ist
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PROGRAM COMPONENT :
processing & information
This program grows f rom the wall. It becomes a habitable space. It becomes a place to learn, reflect and understand. It provides privacy control and access.
look out 120
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PROCESSION :
ascent to garden
The passage through the program represents a culmination of experience. The climb represents a moment of passingthe transition to the garden.
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ascent 123
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B I B L I O G R A P H Y 1 . HTTP: //WWW. N YTI ME S.COM/ 1 9 9 3 / 0 5 / 1 6 / T RAVE L
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2 . BACH ELARD , G A STON : T HE P OE T ICS OF SPACE
1 9 . HT T P : / / W W W. S HI N I C HI MAR UYAMA. C OM/
3 . HO LL, PALLA SMA & GANE T : QUE ST IONS OF P E RCE P T ION
2 0 . F OS C AR I : T HE E L E ME N T S OF V E N I C E
4 . JU N ’ I CHI RO TAN I ZAKI : IN P RAISE OF SHADOW S
2 1 . HT T P : / / W W W. AR C HDAI LY. C OM/ 7 2 1 9 2 / K OL UMB A-MUS UE M
5 . LEATH ERBARRO W & MOSTAFAVI : ON W E AT HE RING
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2 3 . HT T P : / / W W W. S T OR E F R ON T N E W S . OR G/ P R OGR AMMI N G/
7 . WI N KLEMA N , M I CH A E L : SHAMANISM AS NE UROT HE OLOGY
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8 . HTTP: //WWW. N PS. G O V/ NR/ P UBLICAT IONS
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