Bachelor Thesis - Crematorium in Limhamn

Crematorium in Limhamn Bachelor Project Magnus Gabrielsson AAHF30

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Index

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Intro

s. 4

Concept

s. 5

Form-Finding Process

s. 6

The Site

s. 8

Site Strategy

s. 9

Diagrams

s. 10

Plans

s. 12

Sections

s. 15

Views

s. 16

Conclusion

s. 22

Intro

This project is a crematorium placed in the Limhamn Limestone Quarry in Malmö. I wanted to explore the possibilities to help people cope with loss by architectural means. My goal was to create spaces and atmospheres that will evoke contemplation and acceptance.

The program is divided into a “Practical space” and an “Emotional space”.

The practical space includes parking, administration, changing rooms, cold storage and the cremation facilities. Due to the main focus on the industrialized aspect of the cremation process the practical space is mainly situated underground.

The emotional space on the other hand is made up of four square concrete cones sticking up from the ground and cantilevering out of the cliff side. The main chapel and the ash delivery space is facing upwards to filter light while the two smaller chapels are framing views of the quarry.

My two key words for this project is: Light & Framing

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“Nature as Meaning Making Framework” Anna Petterson

Senior lecturer in Architecture, LTH

Concept

Light From Pantheon to the Gothic cathedrals to the glass-architecture of today, daylight has played an important, sometimes central, role.

In the ceremony hall and the ash delivery space, I aim to create an experience of hope and acceptance. To achieve this my main instrument has been the use of daylight. With big skylights facing south, the light reflects against the light concrete walls and creates a diffuse light condition in the room.

Framing Nowadays many people find “Nature as meaning making framework�-Anna Petersson.

Visiting the site, I observed that the unique nature of the Limhamn quarry offers extraordinary and often very poetical visual aspects. This was something I wanted to enhance. Through the framing of nature, the two chapels framing views of the quarry aim to evoke a feeling of comfort and contemplation.

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Form-Finding Process

In the early stages of the project, we had a 3D print workshop called “Module1�.

The goal of this workshop was to get us started with digital modeling process and to get us thinking about geometries that we could use for the crematorium.

My module 1 3D print is made up of twenty repeated square cones with open ends. Through these shapes, I quickly got the idea of framing. I also choose to keep working with the geometry of the angular shapes and sharp angles.

Sketch model in paper

As a next step I started making sketch models of folded paper. During this part of the process, I came up with the idea of using four separate volumes. Each with different functions.

Then, I started experiment with volumes and shapes in Rhino. A challenge at this point was to make the building work both conceptually and practically. This is also when I defined the sculptural qualities of the project.

Module 1 3D print

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conceptual models in Rhino

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The Site Lat. 55 Long. 12

The Limhamn Limestone Quarry is located on the outskirts of Malmö. The quarry industry at Limhamn started 1866 and would then continue for around 130 years making it one of Malmö’s most significant industries. Since it closed down in 1994, the quarry has been left practically untouched and nature has taken over. Due to this unique environment, the site has consequently been inhabited by a distinctive set of animals and plants. Many of which are red listed and protected by law.

Therefore, and due to safety reasons, the quarry has become a nature preserve and is now is today closed to the public.

One of the most considerable characteristics of the quarry is its scale. The area is 90,8 hectare and a at the widest point it stretches 1,3 kilometers. The bottom of the quarry is 70 meters below surface and surrounded by gradually excavated cliff walls sometimes up to 20 meter high.

(Gatukontoret Malmö Stad, 2010) The Limhamn Limestone Quarry is with no doubt an import part of the urban landscape in Malmö. Considering its massive size, location, history and, not least, biological significance it will most likely be a topic for discussion among city planners and politicians for many years to come.

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Site Strategy

I choose to place the building in the northeastern corner of the quarry in order to get the desired views and light conditions.

Facing south the building receives sunlight the whole day. This, consequently, provides a wide range of possibilities to diffuse and manipulate the incoming sunlight trough the skylights.

The scale of the building is also an important part of the site strategy.

Designed to function as an extension of the landscape it shoots up from the ground and integrates with the cliff.

cantilevered volumes

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Crematorium

Diagrams Sun angles

21st of June 12:00 21st of December 12:00

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Plans

1.

Ceiling Plan

1. Ramp for mourners

2. Ramp for hearse and staff parking 2.

3. Skylight

3. Skylight

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4.

1.

0

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A

Plan 0

1. Cermony Hall

B

2. Viewing Chapel 1 3. Viewing Chapel 2 4.

4. Ash Delivery 5.

5. Underground Parking

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6. Coat Room

3.

6.

2.

7. Underground Circulation Area

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8. Storage Area

1.

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B

A

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A

Plan -1

1. Cold Storage

B

2. Preparation Room 3. Elevator for Coffin 8.

4. Staff Lunch Room

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5.

5. Changing Room Women

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1.

6. Changing Room Men

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7. Cremation Room

2.

8. Elevator for Ash Delivery

3.

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B

A

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Sections

Section A-A

Section B-B

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View from the south 16

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Interior. Cermony Hall 18

Interior. Viewing Chapel 1 19

Interior. Ash Delivery 20

View from the north 21

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Conclusion

Reflecting back over last couple of months I think this project has been a great learning experience and I feel that I have developed a lot. Especially concerning my creative process and critical thinking. I feel more open to new design approaches while at the same asking myself “why?” more often.

In addition, I have gained a greater understanding of the infinite possibilities of digital design. I generally see myself as a rather “analog” person and this course has definitely been an eye-opener.

If I would do this project again I would have done a lot of things different.

However, I see that as a sign of progress.

First, I would have had a more effective workflow. For example, I would try to incorporate the practical aspects of the project with the aesthetical and artistic aspects in an earlier stage. Thus being able to make smarter design decisions in the sketch and draft stages. I would also try to formulate a clear idea of the concept and essence of the building early on. Having a clear idea (even though this idea probably will change during the process) saves a lot of time and encourages a more proactive design process.

That being said, I am very pleased with the knowledge and tools I have gained during the AAHF30 course. Stepping out of my creative comfort zone, I now feel more confident to take the next step in architecture. Wherever it may lead.

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Magnus Gabrielsson