Transformational Crematorium

TRANSFORMATIONAL CREMATORIUM RODNEY CUDMORE Masters Studio C: Concrete Thinking Boston Architectural College Fall 2010 Instructors: Kevin Losso Duration: 12 weeks This studio explores the materiality of concrete, using the typology of the crematorium as a design premise.

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Using this section of “Sonnets to Orpheus” by Rilke, this project explores notions of Directional Transformation and phenomenal transparency.

There is a complex relationship between the original German words “uberhaupt ubersteht” which mean “is about all about” (uber = about).

Rilke uses a pun to compare ‘physical survival’ and ‘existential existence’ (or transcendence?) in both words.

“ANTICIPATE ALL FAREWELLS, AS IF THEY WERE, BEHIND YOU, LIKE THE WINTER YOU JUST WEATHERED. BECAUSE AMONG ALL THE WINTERS THERE IS ONE SO ENDLESS WINTER, THAT, OVERWINTERING IT, YOUR HEART PREVAILS ALTOGETHER.”

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One of the most influential factors on the immediate site is the presence of many mature trees of various species.

Different trees, depending on whether they are coniferous or deciduous will create different site conditions seasonally. The fall colors of the deciduous trees are golden, brown, and deep red, whereas the conifers do not change.

This means that although some aspects to the site are constantly changing, others remain constant.

The most compelling aspects of the site can be assessed sectionally. The changes in elevation create a distinct separation of the different 'ground planes' This condition is interesting because in order to connect to another ground plane, one must redirect their gaze above or below the typically horizontal plane that one has become accustomed to using in order to understand the surrounding environment.

Also, some of the cemetery's largest trees are located in close proximity to the site.

The changes in topography allow various relationships to the height of these trees, which can be as tall as eighty feet high. Being at the top of the hill changes one's view of these important elements around the site.

Cedrus Libani

Davidia involucrata

Picrasma Quassiodes

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PROGRAM

+ C I R C U L AT I O N

The spaces were arranged to allow for parallel movement through each system, as one of the aspects of the poem reflected the fact that awareness of other realities actually facilitates the transformational process.

The project challenges the notion of indoor and exterior, by separating the traditional part of the building envelope into different zones.

The tubes, where the services will be held will be environmentally conditioned, while the interstitial spaces will be sheltered from the elements, but will not be conditioned space.

S T R S E O P C A Y R S SP T A L E E EN R P A A G H N C TI I A W

R E T

EN

RE

E C N A R E B CE M E PA M S T

I X E

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P - Porte Cochere C - Chapel Space W - Waiting Area R - Remembrance Space A - Ancillary Spaces

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The formal expression of this project explores the place of the inhabitant amongst the structure. The idea of the wall dissembled allows for the inhabitation of interstitial spaces and the reinterpretation of poche space.

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M A S S I N G E X P L O R AT I O N S

Initial explorations of the spatial massing utilized algorithmic software to develop between the tubes and to the environment. Ultimately this massing model was discarded in lieu of a more controllable geometry but benefited the process as a means to quickly evaluate various design options. The effects of these tests is evident in the arrangement and circulation in the final design.

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The form of the tubes was based on the concept of creating joined, not separate spaces. The profile is an adjusted pentagon, which allowed for interesting intersections with the adjacent tubes, and the desired sweeping height of the interior spaces.

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The four chimneys in the project are sculptural elements that are made of concrete and precast offsite. Using a formwork ‘machine’, The process will allow a high degree of differentiation of parts, while using a common formal language. Once placed on site, the top is cut to become flush with the building skin.

ROTATE MAIN SUPPORTS

CHIMNEY DESIGN

BUILD INNER AND OUTER FABRIC

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LOCATE SPACERS

BUILD SPACERS

Formwork Section Detail

TEFLON FABRIC PLASTIC FLEXIBLE WASHER 6” PLASTIC SPACER W/ REMOVABLE FLEXIBLE FLANGES, FOAM RIM AND STEEL CORE LIGHTWEIGHT CONCRETE W/ FIBERGLASS ADMIXTURE HHS STEEL STRUCTURAL FRAME

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Rendered Wall Section Showing Materials

M AT E R I A L S + C O N S T R U C T I O N

In order to explore the materiality of concrete, two methods of concrete design are utilized in order to address the different design goals of each component. The foundation and tube bases are poured in place and some of the formwork is left in place, exposing the method of construction to the users.

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The upper portions of the enclosures are a custom composite wall solution of expanded polished stainless steel skeleton with soft, translucent polyurethane panels fastened to the interior. The finishes used in the project reflect the site as well as the idea of overwintering.

The wood form is made of red oak, a tree found in close proximity to the site. The colors of the deciduous trees in autumn are inspiration for the polyurethane inner panels of the tubes, to evoke the idea of overwintering.

Wall Section Detail

WEATHER BARRIER EXPANDED STAINLESS STEEL OUTER SKELETON 1/2” GALVANIZED STEEL BOLT ANCHORED WITH EPOXY ADHESIVE

POLYURETHANE WALL PANEL ACTING AS VAPOUR BARRIER WHITE BATT INSULATION 1/2” GALVANIZED STEEL BOLT FASTENNED WITH NUT CAULKING

1/16” COPPER FLASHING /W/ DRIP EDGE

VAPOUR BARRIER 4” RIGID INSULATION

3/4” STEEL REBAR LIGHTWEIGHT CONCRETE POURED IN PLACE EPOXY SEALANT

1/2” THREADED ROD ANCHOR FASTENNED WITH NUT 2” ROUGH TIMBER FORMWORK SANDED AND STAINED

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STRUCTURAL SYSTEMS

The structural system will attempt to maintain the design intent of the project. In order to do so, the cantilever effect of the pathways must be preserved through strategic use of structural members. The base supporting elements are constructed of concrete and introduce a new design language into the project, juxtaposing rectilinear elements with the polymorphic forms of the ‘tubes’. These load bearing elements are used as foundations on which to bear the horizontal steel members.

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Load Upper Level W1 = [Dead Load + Live Load + Self Load] x Safety Factor = [(130cu.ft. x 100lb/cu.ft.) + (80lb/sf x 260sf )+ (26ft. x 12 lb/Lf )] x 125% = [13,000lbs + 20,800lbs + 312lbs] x 1.25 = 43 Kips of Force

Load Lower Level W2 = [Dead Load + Live Load + Self Load] x Safety Factor = [(110cu.ft. x 100lb/cu.ft.) + (80lb/sf x 220sf )+ (22ft. x 12 lb/Lf )] x 125% = [11,000lbs + 17,600 + 264] x 1.25 = 36 Kips of Force

Total Load

WT = 43 + 36 = 79 Kips

Critical Buckling Load of Column A [W10x12]

COLUMN A

Effective Length of Column Fixed at Both Ends = 12ft x 0.5 = 6ft w third point bracing PCR = π2 E I / L2 = (9.86) (29.6 x 106 lb/in2 ) (2.2 in4 ) / 5,184 sq.in. = 124 Kips

Therefore, the selected W10x12 Column is sufficient to support the load.

POURED CONCRETE BEARING WALL

12’

WIDE FLANGE STEEL GIRDER MIN 12” BEARING ON WALLS AND MOMENT CONNECTIONS

40FT UNIFORM LOAD

35FT UNIFORM LOAD

Shear Wall

12’

44’ POURED CONCRETE BEARING WALL

28’

34’

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Different than a traditional crematorium, the building functions are not hidden, but rather open to view. This decision is based on the Rilke’s view that knowledge is a means by which on can gain peace of mind. These considerations result in a very porous and sublime design while accommodating ancillary spaces in adjacent supporting structure. Light is filtered through the various layers and openings, reflecting off the various materials, creating interesting patterns and colors. One can see in the crematoria in the lowest level, the effects of this.

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