Studio 01_AssFinal_983790_Folio Sofia Turtle.pdf

Studio 01 : Isabel Lasala

The Architecture of the Death III

Sofia Turtle 983790

I.

SITE ANALYSIS

Reflections

Crematoriums

Cemetery

Temple

The Site analysis and precedent studies were incredibly usefull to get an understanding of the program of and spatial

qualities required for a creamatorium, temple, and cemetery.

Within the site analysis we chose to look at components that would directly influence our design.

Diamond Hill Crematorium

Brion Tomb

Ingleheim Funeral Chapel

Some of the things we discovered that is important to take into consideration is: - Access to site

- pedestrian

- vehicular

- public transport

Crematorium Heimolen

Communal Crematorium

Cemetery Pavilion

Mausoleum of the Martyrdom

Precedent Study Precedent Overlayed on Site

Nova Serana Chapel

Bluestone (Cheongseok) Church

- The number of people that visit the site in a day

- 400 people pass through the island on a weekend. Retaining the island as a public space will be considered moving forward.

- key views

- The island is so dense that most views are obstructed with trees. The trees combined with the typography results in the island look inward on itself.

- Study of Sound

- There is a white noise of cars that surrounds the site. How does the design embrace or reject the noise?

Can the nosie be replaced with something else? Do you design it in a way that walls act as sound barriers?

II. BRIEF DEVELOPMENT

Entry

Cemetery Family - Passed love one

A Columbarium : An above-grade structure designed for the interment of cremated remains in a niche.

Niches vary in size, offering options for individuals, couples or families, The standard size is as follows.

Final Goodbyes

Niche Dimensions

Travel with coffin down the river, for Family members

Length x Width x Depth 300mm x 300mm x 220mm Grave Burial

2.06m x 0.61m x

Single Burial Double Burial Three Burials

1.5m Deep 2.0m Deep 2.5m Deep

Age group – Up to 50 (Age group upto 75 accounts for less than 50% of deaths in Victoria annually) 1 ‘ceremony a day’ (for 350 days of the year); 10500 niches for burials

6300m2 in total

Crematorium

Crematorium

Journey of Casket: § § § §

One Cremation Chamber Back of House

§

Reflection

§

Preparation of body: all metals removed; rings jewelry, watches, etc.

Transport of casket from Funeral service to crematorium If applicable, Flowers on coffin are removed Coffin remains sealed, staff identify the deceased by matching the name plate on the coffin to the application for cremation document and medical certificates. A coroner’s cremation permit can also be used in this identification process.

Cremations are legally required to take place within 48 hours of the service. (If not directly after service, the coffin is placed in a refrigerated holding room) Coffin is inserted into the cremator. The deceased are always placed feet first.

The Process: (Up to 4 hours) §

Made of 2 chambers and a cooling tray. § First chamber is powered by natural gas and built with heat resistant bricks; this chamber is heated to a temperature between 800 – 1000 degrees Celsius – the coffin is then inserted. The heat from the bricks in this chamber causes cremation to occur. § Cremated remains are moved to second chamber, where the remains are removed from the coffin. § Remains are placed into a cooling tray § Cremated remains are placed in a cremulator which grinds them into a fine, sand like consistency. § Remains are placed in a pre-purchased urn, or sealed container.

other Details

Cemetery

4000 Cremated Remains Stored in sculpture garden

Door Opening: 949mm High x 1158 Wide (largest door opening size in Australia)

Crematorium: Changing from one

element to another Cemetery: A collection Temple:

A Place of Respite

These model studies gave us the opportunity to analyse the existing conditions of the site within these definitions.

By defining the program to fit within the context of the site, allowed us to think differently about what the cemetery could be. There were so many overlays with the elements under this definitions, that moving forward there is opportunity to have the cemetery and temple or temple and creamtorium to be one element.

Crematorium

Cemetery

Crematorium

Temple

Cemetery

Temple

Cemetery

Temple

III. TOPOGRAPHY TASK 01

Topography : Model 1: 100

Plan adjsuted to accomdate landing

Topography : Site Plan 1: 100

IV. TOPOGRAPHY TASK 02

Topography : Site Plan 1: 100

Topography : Model 1: 100

V. SKETCHES

VI. SCHEMATIC DEVELOPMENT

VII. SCHEMATIC DEVELOPMENT 02

Common Niche

Concentric Niche

Spiral Staircase

Natural Elements Trees

Natural Elements Water

Natural Elements Water + Tree

VIII. STUDY MATERIAL

Precedents

The Eyes of the Skin: Architecture and the senses maa

Juhuani Pallas-

The Memory of Place: A phenomenology of the Uncanny Dylan Trigg Good Fences Make Good Neighbours

Ai Weiwei

Exquisite Pain

Sophie Calle

Wunderlust Wanderkammer Mara Katherine Smaby, Nicola Eiffler, Nicole la

Staring for too long, one question answered, two more appear. Each line drawn, each moment to be considered. I was unsure of how to move forward with the design.

What is it trying to ahcieve?

What is the desired journey?

Rather than draw influence from cemeteries or the draw to beautiful architectural images, I decided to look at a number of books to try and draw some inspiration and ieas in order to move forward.

These are some of the books that helped develop new ideas to be represented within the project.

Andy Goldsworthy is well known for this work that is a collection of site specific pieces, transformed into land art, dealing with the passage of time. He shows a beauty in the fragility, fickle nature of time.

Sandstones by Goldsworthy caught my attnetion immedieatly as a reference for this project. How does the site, and the proposed buildings change over time? Can you design elements to show an aging beauty? age. decay. transofrm.

“It is not about art, its jsut about life and the need to understand that a lot of things in life do

These two series are a beautiful example of simple changes for the transition of time over a day, the transition of seasons.

A collection of stones, gathered from surrounding site to create a new piece.

A beautiful book that looks at a sight in comprehensive detail.

‘

“Here, our own selves can become the site on an internal quarrel as to how a place once was; by claiming to cognitively remember the feel of a place, our bodies can provide a different history of the past.

The result is that a place can take on a life of its own, quite apart fro the way it is experienced or remembered.”

“We carry palces with us’ gains a primordial significance greater than that indicated by habit alone. By carrying places with us, we open ourselves to a mode of embodiment that has less to do with habit and more to do with the continuity of ones sense of self.”

“When certain things in the world strike us in our memories, those things can exist to tsome extent wuit apart from the environment in which they occur.

A Facial expression, harsh sound, pain in an ankle can force the materiality of the worlds to a background, nonimmediate status.

But with place memory, we are concerened with a division of remembering, in which place is not simply the context on which memories hang, but

Theories on memory from ‘the Memory of Place’ together with this exert from ‘The Eyes of the Skin’ , “The sense of sight implies exteriority, but sound creates a sense of interiority” “Our look wanders lonesomely in the dark depth of a cathedral, but the sound of the organ makes us immediately experience our affinity with the space” ‘The silence of architecture is responsive, remembering silence.

‘

IV. MID TERM PRESENTATION

A Space to Lay

Communal Memorial

Temple/Cemetery to reflect the concept of people laying above grave1 to be close to loved one.

Remove grief from the individual, from isolation.

The communal memorial does not discriminate.

A flower is not left for one, it is left for all.

How can the architecture be designed to encourage and invite you to lay, to offer this closeness?

1. Grave: a place where a broken or discarded object lies

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Scale 1: 200 Plan : Cemetery

Scale 1: 200 Plan : Temple Summer Jacaranda

Autumn Claret Ash

Winter Wattle (Acacia Pycnantha)

Scale 1: 200 Section : Seasons

Spring Cherry Blossom

Scale 1: 200 Section : Temple / Cemetery

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Site Plan Work In Progress

Temple Perspective

Reflections Feedback: - It would be beneficial to see the section within the whole site - Stay away from wall being too similar to war memorial type of configuration - No access to columbarium ; the more i think about it the more i like it. Highly charged, like a magnetic core to the island.

Choo and I had been working in a group, and although we really enjoyed working together, we realised we had very different intentions for the architectural outcome.

Once deciding to go solo we only had 4 days to come up with our individual schemes. This left me feeling my scheme was underdeveloped and did not neccesarily reflect or represent the architectural outcome desired. The coming weeks, taking into consideration the feedback from mid-term, I will further develop the architecture within the concepts which now feel very clear in their intent. For future reference, more time needs to be dedicated to practicing my speech, I get incredibly nervous and either ramble, or completely forget to mention important aspects of the project. Developing a small simple series of diagrams to accompany the presentation so not as much time is spent on explaining these concepts.

Feedback from class - arches not needed in gabbion walls - when approaching - how do you know the space is occupied. what kind of ques can happen here. is there ea sounds of the ground? can you see from a distance?

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Plan Scale 1:50

Follie : Rest Section 01 Scale 1:50

Feedback from class - make angle on Follie less prominent - not easy to sit on without something stopping you. 5% gradient is ideal - Consider the materiality here, something poures will help you from sliding, but what is comfertable?

- Reduce width of Entry to tower

Feedback from class - Consider switching the urn upside down - so the curve is underneath.

- the relationship to the cemetery underneath is lost - consider this, bring it back? maybe re work the old scheme as it has a cloer relationship

CREMATORIUM

- the water element seperating the two parts of the island is too large. the intervention is huge compared to everything else that is on the island. +4600

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-where does everything sit?

Show the whole site plan.

Yarra River

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