COVER
Preface
The Gdansk Masterplan proposal concentrates on the revival of the identity of the city and reconnecting the Shipyard back to the city. Collective memory and urban artefacts are used as architectural tools to strengthen the community of Gdansk and remember it’s rich history. Nekropola, the proposed cemetery tower, located on the edge of the masterplan proposes to challenge the socially acceptable characteristics of architecture led around death whilst linking to the theory of memory. Nekropola combines the theme of poetic architecture, the urban city and death.
Contents
Masterplan Project Historical Context 8 Analysing Site 10 Masterplan Theoretical Approach 14 Masterplan Manifesto 18 Exploded Axonometric of Proposed Masterplan 22 Aerial View of Proposed Masterplan 24 Masterplan 26 Views 28 Thesis Project Challenging the Cemetery 34 Existing Cemeteries 36 Precedents 38 Religions in Poland 46 Burial Plots 48 Journey 50 Poetic Theory 54 Subtle Symbolism 56 Circulation 58 Edges 60 Dissecting the Site 62 The Crux 64 Initial Concept 66 Massing Development 70 Concept Development 72 Spatial Concept 76 Concept Sketch 78 Key Routes 80 Routes From Masterplan & Public Realm 82 Ground Floor Plan 84 Tower - Top Floor 85 Tower - Burial Spaces 86 Tower - Contemplation Spaces 87 Sectional Perspective 88 West Elevation 90 Aerial View 92
Axonometric & Tower Elevation 94 Entrance 96 Main Chapel 98 Courtyard View 100 Ground Floor Columbarium 102 Columbarium Void 100 Columbarium 106 Top floor Columbarium 108 Model Photographs 110 Environmental Strategy 112 Structure 114 Appendix Cost 120 Escape Routes 122 Bibliography 124
Historical Context In history, the area has lacked freedom of expression. A cultural development in which communities can thrive in and express nostalgic perspective. A community in which a collective memory can be celebrated through creativity. The abandoned shipyard used to provide economic gains for the wider community and has been shut down for Political and technical reasons. These economic gains need to be replaced in the form of workshops for young business ventures. There is a shell of old buildings that were constructed and have already been paid for. These high costs of occupying new buildings may be levied in the form of an owner’s interest and amortization payments on the capital costs of the construction. However the costs are paid off, they have to be paid off. And for this reason, enterprises that support the cost of new construction must be capable of paying a relatively high overhead–high in comparison to that necessarily required by old buildings. To support such high overheads, the enterprises must be either (a) high profit or (b) well subsidised. Thus, meaning cheap rent for start out companies in the city and therefore boosting the economy for the long run. Chain stores, restaurants and banks go into new construction. But neighborhood bars, foreign restaurants and pawn shops go into older buildings. Well-subsidized opera and art museums often go into new buildings. But the unformalized feeders of the art studios, galleries, stores for musical instruments and art supplies, backrooms where the low earning power of a seat and a table can absorb uneconomic discussions–these go into old buildings. Perhaps more significantly, hundreds of ordinary enterprises, necessary to the safety and public life of streets and neighborhoods, and appreciated for their convenience and personal quality, can make out successfully in old buildings, but are inexorably slain by the high overhead of new construction. As for new ideas of any kind, no matter how ultimately profitable or otherwise successful, might prove that there is no leeway for such chancy trial, error and experimentation in the high-overhead economy of new construction. Old ideas can sometimes use new buildings and new ideas can sometimes use older buildings.
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Analysing the Site Nekropola
Poland has suffered from large amounts of warfare within the last century. Whilst considering logistics through Gdansk’s shipyard area, the boundaries have fluctuated over the years. The Russian Red Army seized the shipyard and saw it as an opportunity to industrialise the city by serving the militaries industrial needs.
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Dilapidation
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Development
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Analysing the Site Nekropola
12 MINUTE WALK
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Gdańsk Lech Wałęsa Airport
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GDANSK GLOWNY TRAIN STATION
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Gdańsk Lech Wałęsa Airport 91
24 min drive 14.1km away
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By dissecting Gdansk as a whole, it is blatant that certain areas of the city have gone through renovation but other areas are in need of redevelopment. Clearly, the Shipyard stands out as an area that has been neglected post war. There are many un-walkable and unpleasant areas of the shipyard and it feels disconnected from the city itself. There are very few public transport routes, which connect the city centre to the Shipyard. Looking at the suburbs to the west of the Shipyard, it shows how disjointed the residential areas are to the centre of Gdansk because of the large open areas between them. 12 MINUTE WALK
Railway Station
Walking Distance Ferry Stop Main Road Connection 24 MINUTE WALK Airport
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Masterplan Theoretical Approach Nekropola
Aldo Rossi’s Book, The Architecture of the City, focused on specific artefacts that trigger collective and individual memory throughout a city. Individual memory is based on the personal interpretation of an event, which has occurred in the past. However, the individual memory is only personal. To strengthen the memory of a City, it is vital that the inhabitants communicate with each other and bond over past events. This then transforms each individual’s interpretation into communal memory. By looking at the historical fragments of the Shipyard, they become artefacts,
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which could trigger communal memory. Taking components of contextual significance on the current site, remodelling them and re-choreographing at different scales, creates a variation of interventions. Gateways, stairs, ramps, canopies, benches and features that connect selected fragments of the old together are intertwined into a new urban fabric that connects the old, neglected shipyard to the monuments of memory that surround it and to the city centre.
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Masterplan Theoretical Approach Collective Memory Nekropola
Rossi Identifies Urban Artefacts and how they are not tied down to just architectural elements. An Urban Artefact can be anything from a building, street or square. By classifying these features as urban artefacts, the function of them is rendered irrelevant. “A form of a city can be studied by looking at the structure s characterised by the city’s history.” It is the richness of history within a city which is a characteristic of urban artefacts. This directly relates to the shipyard site as a whole. These urban artefacts become almost indispensible in terms of its fabric as they are almost seen as art forms and human achievement. This contributes to the collective individuality of the city.
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Aldo Rossi’s approach to urban design, questions what defines a collective or individual memory by using a typology of analogy to create architecture. He determines an urban artifact as a building, a street, a district. An urban artifact could be a commonality of the city that is seen throughout it. It could be a detail of a window lintel that is repeated, it could be a column or a courtyard.
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Masterplan Manifesto Nekropola
Revive Identity
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Gdansk being rich in historical prominence, the theory of the Masterplan was to reinstate Gdansk’s identity through the typologies of the Shipyard and transforming the function of some of the buildings to the needs of the city, increasing popularity around the area. A mix of building uses such as housing and cultural will revive the identity of Gdansk. Jobs will be created from the new building uses. Improving transport through the Shipyard will enhance the public realm and popularity of the site. Public spaces and increases in toursim due to the proposed masterplan will connect the old Shipyard area back to the city centre.
Increase Housing
Increase Tourism
Improve Transport
Create Cultural Hub
More Public Spaces
Create Jobs
Reconnect to the Centre
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Masterplan Intention Nekropola Connections
Gdansk Old Town WWII Museum
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The intention of the project was to reconnect the dominant areas of the city with the Shipyard and tie it back to the city itself, increasing footfall and popularity of the area. The main areas we focused on were the Old Town, The WWII Museum, the Fallen Shipyard Workers Monument and the Shipyard itself. By connecting these together, it would reinstate Gdansk’s historical richness and give the city identity.
Fallen Shipyard Workers Monument
Gdansk Shipyard
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Exploded Axo of Proposed Masterplan Nekropola
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The layering of the masterplan enabled us to pedestrianise certain areas and create large public realm whilst combining the old with the new structures on the shipyard, retaining the theory of memory throughout the proposal. Reinstating the old bastion wall and the shipyard boundary were two key elements of designing the masterplan and were transformed into public realm which linked from the Solidarity Centre gateway all the through to the WWII Museum. Creating Subterrainean vehicular access opened up the opportunity to create a walkable part of the city for people to experience the rich history of Gdansk.
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Aerial of Proposed Masterplan Nekropola
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Views
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Thesis Project Nekropola
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Challenging the Cemetery Nekropola
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Verticality in architecture is deemed an acceptable form for certain typologies such as residential, offices and other civic buildings but the issue arises when a certain function of a building seemingly does not suit a certain typology. Vertical cemeteries is not a new concept but in modern day, they seem to be located within the suburbs of a city and spread across vast areas of land. By raising the option to builda cemetery within an urban environment challenges what typology a cemetery can be.
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Existing Cemeteries Nekropola
Verticality is still under the discussion of whether it is a complementary or alternative way of thinking about a city. If sustainability is appreciated as land management, then being tall is the first logical action for a designer to take. It accommodates a number of users in available land but also gives identity and iconic elements for the entire city or neighbourhood. The innovation and creativity of architecture is leading to convince some new typologies that could possibly go vertical. Cemeteries are usually located in wide landscape with very few located in urban areas . This is where the vertical cemetery is challenged and to whether combining vertical and urban together with death can be deemed as socially acceptable. As cemeteries are a less dominant priority to be designed, it is forgotten that these spaces are utilised just as much as any other urban space. The challenge is whether verticality, urban space and social acceptance in conjunction with death can be accepted.
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Precedents San Cataldo Aldo Rossi |Modena, Italy Nekropola
Located in Modena, Italy, the extension to an existing cemetery by Rossi, shows the vertical stacking of graves. The subtle symbolism and simplistic post-modern design which was theorized from the structure of the body as a series of fractures pieced together. “the question of the fragment in architecture is very important since it may be that only ruins express a fact completely... I am thinking of a unity, or a system, made solely by reassembled fragments.�
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Precedents Brion Cemetery Carlo Scarpa |San Vito d’Altivole Nekropola
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Looking at the poetics of spaces, Scarpa’s Brion cemetery in San Vito d’Altivole, Italy demonstrates the use of visual and physical thresholds.By manipulating light and materiality, he creates spaces which emit a spiritual and poetic spirituality to his spaces. Although this is a private tomb, it demonstrates the atmospheric prominence in each space. The narrative of the Brion Cemetery is an eschatological one; it creates a foundation for a vision of the future. Scarpa concentrates on the three types of travel; visual, physical and mythical. The physical travel throughout the cemetery is full of rich architectural events which provide narrative clues. Visual travel is evident in the placement of spaces an objects which are purely for observation. Mythical travel is demonstrated through the imagination which is a mental voyage of the cemetery’s structure.
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Precedents Igualada Cemetery Enric Miralles |Barcelona, Spain Nekropola
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Miralles’ cemetery located in Barcelona uses subtle symbolism which is universal to all religions. Gateways to lower levels show an unspecified symbol but also strike as an imposing piece of architecture., making people ponder on what the symbol means. At the entrance to the cemetery, there are two crosses which relate to christianity but they are so subtle that they do not completely define the cemetery as being tied to one religion. The manipulation of skylights and materiality add to the atmosphere of the spaces.
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Precedents Memorial Necropole Ecumenica Brazil Nekropola
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A vertical cemetery is not particularly new. Examples in Egypt, Italy and North America show that stacking vertically has been around for decades. The interesting features of the vertical cemetery in Brazil, is the fact that there are other functions to the building than just burial plots. There are wooded areas, a restraurant, vehicle museum and a lagoon. The building is an example of how cemeteries do not have to solely be burial plots, but they can incorporate other functions which are not related to death at all. By placing a cemetery within an urban environment, it would be a waste not to incorporate different functions in and around the space to gain maximum utilisation of the land.
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Religions in Poland Nekropola
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As 87.2% of inhabitants in Poland are a form of Catholic, it is impossible to ignore the need to address this religion. However, for the remaining 13.8%, there is also opportunity to explore the beliefs of these religions in comparison to Catholicism and analyse the similarities between them. The process of Burials is an important factor to consider as it could influence design. Creating a cemetery which caters for all religions enables the spaces to be flexible and bring out the spirituality of the architecture rather than catering for just a single belief. Having considered the religions present in Poland, there are similarities between many of them. Catholics, Protestants and Eastern Orthodox all branch from the same religion; Christianity which means funeral services will all follow a similar trend. For the 0.4% of other religions, catering for these will be an important factor as their religions contain different symbolism, religious spaces and burial types.
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Burial Plots Nekropola
Burial tradition is a vital factor to consider, especially within the context of the city as is a means of paying respect to those who have deceased. There are many comparisons between religions which allow the same type of burial which makes it easier to cater for multiple religions.
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Dead bodies are placed in a shelf/drawer which is similar to a morgue. Incorporating vertical elements changes the role of the land. Protestants, Catholics and Buddhists prefer burial over cremation which is why wall burials are the nearest expectation to meet the needs of these religions. Taking into account the inevitable expansion of a cemetery, a traditional burial on a specific size of land will enable 200 burial plots. However, on the same size site 720 units can be placed if stacking/wall burial is used. Further from this, by reducing the circulation space and grave size, it is possible to fit up to 1480 in the same space.
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Journey Nekropola
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Journey Nekropola
When looking at the circulation of a typical cemetery, the chapel is usually the destination point with the graveyard surrounding or adjacent to it. However, by transforming the form to incorporate verticality,the journey may differ, but may not necessarily be worse. As a concept, the vertical circulation could be through the graveyard which sits within a tower and at the top, would be the place of worship. This is one way to reinvent the journey but it may feel too concealed to some users. The graveyard itself is the final resting place of a person who has passed and the final goodbye is taken place. 52
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Poetic Theory Nekropola
Looking at the poetics of architecture, it can be broken down into different categories; mass, structure, ritual, order, body, repetition, volume, essence, expression and material. Combining all these elements together within different elements of design, which may include public realm, detail and spatial elements will entice people to appreciate the poetic theme of the architecture that surrounds them. There are architectural elements which can be utilised to express the different categories but essentially, each one will work in harmony with the other and enhance the poetics of the architecture. “The beauty of poetic is only be able to see when it reaches the realm of thinking process, not just reach the architect thinking process, but it really beautiful when it reaches the realm thinking process of the user where poetic creates the present or atmosphere or ambience that provoke the emotions of the people, not just only translated physically as a poetry words but duel with psychology or mental way of thinking.�
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Mass
Containment
Light
Repetition
Structure
Volume
Ritual
Essence
Order
Expression
Body
Material
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Subtle Symbolism Nekropola
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The subtle detailing of the buildings is used as an architectural element to provide subtle symbolism to the users. The use of stepping window frames and framing views allows the user to catch a glimpse of different areas of the site. Playing with levels and boundaries allows for visual thresholds which people can see but cannot reach. This taps into the emotions of the person and relates to the loss of a loved one in the way which they cannot physically be within the presence of them anymore. The detailing of the buildings draws attention to the users to particular features and provide users with narrative clues throughout the site.
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Circulation Nekropola
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There are two predominant routes to site; one which is led directly from the city centre and crosses the proposed masterplan and one arrives from the WWII museum on the east side. Due to bodies making it to site requiring vehicular access, the two routes highlighted are the main routes. Leading away from the hustle and bustle of the masterplan, the site itself is isolated from the proposed buildings that surround it. This creates the fine balance for the opportunity to have an urban cemetery but also some separation from the busier areas of the city.
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Edges Nekropola
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Defining the edges of the site is particularly important with the area chosen as almost each edge is surrounded by water. This could be utilised as an important visual threshold to the inhabitants. Circulation round the perimeter of the site would define a more tranquil experience. Where the extension of the edges cross become important nodes as their axes cross each other. The node at the entrance to site has importance as it carries the first ground floor visual of the project. The node to the east crosses two axes and faces the water on two sides which creates the opportunity to design a point of interest. The final node to the north west is the crux of the site and is furthest away from the entrance. Due to the node being furthest from the first two nodes and surrounded by water, it becomes isolated from the other two nodes which could be used as an architectural tool to tap into the emotions.
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Dissecting the Site Nekropola
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By dissecting the site, it opens up possibilites of retaining natural axes and suggests different level changes which could be possible. Splitting the site up into three sections shows the impact of each area on site. The section furthest south covers the entrance to site which is important when considering the journey of a person. The middle section is sandwiched between the other two sections. However it plays an important part on site due to its connections between the site entrance and the crux of the site. Level changes may help define the difference in sections of the site which would then express the difference in emotion as one moves through the different sections.
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The Crux Nekropola
The abnormal form of the site enables a natural distinction of a crux. The area marked lies at the furthest point from the entrance to the site and has direct contact to the water. This naturally becomes the highest point of interest. It is defined as the crux due to the narrowing of the site towards a point, which isolates itself from the rest of the site. From this area, there are large panoramic views across the water and a visual connection towards the proposed masterplan. Building a structure of great height on the crux of the site affects the cityscape and could become a destination point for people viewing it from afar. 64
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Initial Concept Nekropola
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The initial concept drawing of the vertical cemetery combined all programme into one structure which towered above the cityscape. Mixing public public and private programme together was an initial concept to bring more function to the building. However, it was difficult do due to blurring the lines between public and private being unnecessary and possibly inappropriate. The concept seemed to not utilise the site impactfully as there was much more potential to landscape the site and spread the emotional journey through individial pieces of architecture and public realm. Another issue was that the tower did not address the waters edge in any way. It seemed like an injustice of spatial utilisation as these edges had the potential to become interesting and atmospheric spaces.
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Initial Concept Nekropola
Due to the initial concept of a singular tower being too confined, the idea arose of separating the chapels and crematorium from the burial plots as individual components. By placing the tower as a separate structure, it emphasises the importance of the burial space and becomes a monument. The separation of the tower into individual buildings also gives the opportunity to landscape the site, incorporate varying levels and create a more poetic journey. The concept utilises the site much more efficiently as buildings can be placed in different locations in comparison to confining all the programme into one tower. Each building has the opportunity to become unique due to the isolation of each one. They will feel less confined in comparison to a singular tower. As the burial tower is seen as one of the most iconic buildings of the project due to its height and the emotions that people will feel perceive. The journey of a person should be expressed not only through the architecture but the external public realm that surrounds it and by separating the structures, the opportunity to do this becomes much more coherent. “Poetic as a sense of beauty in experiencing space� - Steven Holl
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Massing Development Nekropola
Massing out different forms on site allowed for the exploration of different variations of building mass and external circulation. Consideration for the circulation was a key point which needed to be considered as the journey was one of the most important issues which needed careful attention. Different alternatives were explored through the basis of circulation and building placement to ensure that the journey could be emphasised.
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Concept Development Nekropola
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Introducing a landscaped void within the design allowed the design to form around it. By creating this void, ir brought forward the idea of playing with levels and circulation. Initially, the void was off centre but there was a clear lack of architectural prominence between the buildings and the tower. By centralising the void and experimenting with forms, the orientation seemed to work best by retaining a connection to the furthest north point of the site. This is where the columbarium tower is located. The way the buildings have been placed around the void, retains the axis towards the crux of the site. A mix of building forms and public realm centered around the void allows for the labyrinth-like circulation towards the tower, enabling the users to experience all parts of the site.
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Concept Development Nekropola
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When deciding to landscape the site, and incorporate varying levels, it was important to consider the circulation throughout the buildings. The intention was to create a larger space as an entrance and lead people through to a smaller space and then into an even larger space than before. This will affect the atmospheres of each space. Playing with levels also aids the different height spaces and creates a unique journey through each building.
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Spatial Concept Nekropola
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Looking at the different aspects of the tower, perforating the outer skin of the facade allows for light to pass through and cast enticing shadows which contribute to the atmosphere and to the emotions of the people who circulate through the space. On the inner skin, a columbarium wall faces the perforated brick. The brick obscures the view of people from the outside but also lets light in for those within the tower. This isolates the person within the tower and allows them to feel a deeper emotion whilst visiting the grave of a loved one.
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Concept Sketch Nekropola
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Landscaping the site enabled varying heights of floor level and also enabled each building to be placed around the waters edge. This would create views throughout the site and a connection to the water. The courtyard within the heart of the site symbolises a shift in atmosphere as it is mostly closed off to any visual connection to the water, which would make the inhabitant feel contrasting emotions from being on the edges of the site. Dropping down to the lowest level is the tower where the columbarium is located. By weaving through the site from ground level, to lower ground level and eventually entering the tower, the inhabitant would feel varying emotions when entering each part of the site; going from high ground, to lower ground and eventually arriving at the highest point. The tower is a stand alone structure which is used as an architectural tool to tap into the emotions of a person and become a place of contemplation.
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Key Routes Nekropola
Visiting Route
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Leading people through different height spaces affects the emotions of a person, by designing the entrance to be a medium sized space, it represents its own character and provides clues the user to what may come in the space to follow. This entices the user to follow the route through the chapel but cannot fully experience the space until physical entry. The chapel being a taller space enables a transition from isolation to openness. Horizontal travel becomes key as walls, doors and windows can form barriers between spaces, leaving the user pondering on what is round the corner and what the next space will feel like.
Main Service Route
Cremation Route 81
Routes from Masterplan & Public Realm
Suburbs View
Nekropola Cremation Cremation Crematorium Crematorium ColdStore Store Service Service
Public visiting route
Intimate Intimate Chapel Chapel
CivicCivic Chapel Chapel
Circulation Circulation
Shipyard View
Burial Burial Tower Tower
Cremation Cremation Crematorium Crematorium ColdStore Store Service Service
Intimate Intimate Chapel Chapel
CivicCivic Chapel Chapel
Circulation Circulation
Main service route Bastion Wall View
WW2 Museum View
Main service to cremation route
Solidarity View
Main Route View
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Level Changes
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Tower Plan - Top Floor 1:500
Ground Floor Plan 1:200
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Tower Plan - Burial Spaces
Tower Plan - Contemplation Floor
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Axonometric & Elevation Nekropola
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Entrance Nekropola
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Main Chapel Nekropola
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Courtyard View Nekropola
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Ground Floor Columbarium Nekropola
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Columbarium Void Nekropola
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Columbarium Nekropola
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Top Floor Columbarium Nekropola
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Model Photographs Nekropola
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Environmental Strategy Nekropola
Flue for the crematorium. The Furnace requires fresh air to be pulled in from the courtyard for the combustion to take place and a flue for the exhaust fumes to Flue for the crematorium. The Furnacethrough. requires fresh The air to be exit exhaust pulled in from the courtyard for the fumes are not visible and are combustion to take place and a flue for the exhaust fumes to exit released into the atmosphere through. The exhaust fumes are not at a substantial height visible and are released into the to not atmosphere at aair substantial height level. pollute the at ground to not pollute the air at ground level
Underfloor heating for the winter. Due to the height of the space, the chapel will benefit from underfloor heating as the Underfloor heating for the winter. radiant can directly Due to heat the height of therise space, the chapel will benefit from underfloor up from the ground and exit heating as the radiant heat can rise directly up fromwindows the ground and through the atexithigh through the windows at high level. level.
The fresh air is drawn in through the courtyard and in through the windows, cross ventilating the chapel. The stale air exits The fresh air is drawn in through the through the and higher windows courtyard in through the windows, cross ventilating the on the opposing end of the chapel. The stale air exits through the The higher space windows can on thebe chapel. end of the chapel. The Summer Sun Winter Sun cross opposing ventilated space can be cross efficiently ventilated Summer Sun efficiently due to it’s small width due to it’s small width. Winter Sun
A MHRV system will be used to allow for efficient A Mechanical Heat Recovery use of heat retention in the Ventilation system will be used to allow chapel for efficient use ofservices heat when are retention in the chapel when being heldheldin inthe services are being the winter. winter.This This allows for for a continuous allows a continuous fresh air supply when the space is fresh air supply when the inhabited. space is inhabited.
The plantThe room can be accessed through the plant room can be accessed through elevatorleads on site which elevator on sitethewhich underground. This leads underground. This is located is located centrally on site to provide power centrally on site to provide power sources for each of the individual sources for each of the individual buildings. buildings.
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Structure
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Nekropola
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The key space of the project is the cemetery tower which will consist of a secant pile foundation and concrete structure. Prefabrication such as the individual contemplation spaces which are at varying heights throughout the tower and the columbarium spaces.
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Prefabrication will play a huge part in constructing the tower as many of the components are repeated throughout the tower. The concrete columns are also precast and will attach to the external facade of perforated brick. The precast contemplation spaces have an area of specific detail which steps and becomes thinner towards the edge. Precasting the component is the most efficient and accurate way to obtain this detail due to its form. The columbarium spaces are precast in 2x4 components which will slot into the reinforced concrete floor plate and also the adjacent piece.
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Bespoke Concrete Window Sill Cast in Situ Vapour Barrier 100mm Rigid Insulation Thermal Break Masonry Concrete Internal Leaf 20mm Concrete Wall Finish Double Glazed Window With Argon Fill Insulated Window frame Post Tension Concrete Roof Slab 200mm Rigid Insulation 40mm Polished Concrete Roof Finish
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The stairs will be precast and slot onto the floor plate of the main columbarium area. The arches along the ground floor and roof floor will be precast and slotted into each other and the floor plate. Essentially, the tower is a structure which is open to the environment with areas of isolation. Due to this, there is little need for any insulation within the tower.
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300x1000mm Secant Pile Foundation 500x300mm Reinforced concrete Cap Beam Structural Floor Slab Damp Proof Membrane 100mm Rigid Insulation 100mm Floor Screed with 40mm Heating Pipes 20mm Polished Concrete Floor Finish Reinforced Concrete Wall Structure 100mm Rigid Insulation Masonry Concrete Internal Leaf 20mm Concrete Wall Finish
Tower - Exploded Axonometric
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Concrete Prebaricated units such as the contemplation spaces, the columbarium grave slots and arches will be slotted together into the reinforced concrete floor plates. An ancon wall joint will attach the perforated brick to the columns, which run up the tower on the external facade. Wall ties will be needed to support the weight of the brick at intervals of 3 storeys. The staircases will also be prefabricated. Each component for its use is identical so the same mould can be used to cast each piece. Concrete prefabircated units such as the contemplation spaces, the columbarium grave slots and arches will be slotted together into the reinforced concrete floor plates. An ancon wall joint will attach the perforated brick to the colums which run up the tower on the outer facade. Wall ties will be needed to secure the brick to the tower and the Ancon joints will support the weight of the brick at intervals of every 3 storeys. The staircases will also be prefabricated. Each component for its use is identical so the same mould can be used to cast each piece.
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1:50 Construction Section
1:50 Elevation
Ancon Wall Joint 215x65x112.5mm Recycled Brick Wall Tie Concrete Floor Concrete Wall
Appendix
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Cost Nekropola
Providing an accurate cost estimate for the project would be difficult as approximations of labour. An important factor to consider are the surveys which need to be carried out due to the site being surrounded by water. Alternative construction methods may need to be used due to the landscaping of the site. Whilst considering the cost of materials and manual labour, the preparation of construction requires fees. The proposed masterplan involves the demolition of some existing shipyard buildings. However some of the materials left after demolition will be recycled. For example, the perforated brick proposed on the tower will consist of recycled bricks from the demolished buildings. Other bricks will be used as hardcore to enable full utilisation of recycled materials. As the site itself is essentially a blank canvas, there is little cost involved in clearing the site of fixed existing structures. However, there are moveable structures on the existing site such as containers which will need to be removed. In terms of funding for the cemetery, Polands Cultural Heritage Foundation recently received around 24m euros from the Government to restore Warsaw’s Jewish Cemetery. This shows how Poland value the cultural importance of Cemeteries. Poland currently have a Church Fund which contributes 89m zloty to the total fund for churches per year. In 1993, a signing of a Concordat with th Vatican meant there could be no separation from the Church and State, which means that they will continue to gain funding. However, the 493m zolty per year making up the overall Church Fund does not come solely from the State. It is difficult to justify the funding of the Church by the government due to both nonbelievers and believers having to contribute to through tax.
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Escape Routes Nekropola
Main Chapel Escape Route The external staircases and lifts of the vertical cemetery tower are the only means of access to the structure. Due to the whole structure being essentially external and the staircases have direct contact to the outside. The materiality of the staircases is predominantly concrete which means that they will not burn in the case of a fire, increasing the amount of time for the inhabitants to exit the building. Adjacent to the staircases are lifts, which access all floors. One of these lifts will be a firefighting lift to allow for emergency services access and also for disabled people to exit the tower. The two smaller chapels and the crematoriums both have two exits at either end of the buildings. This enables the inhabitants to quickly exit the building in the result of a fire. Within the crematorium, the maximum distance needed to travel to a fire exit is less than 18m which is within regulations. The maximum distance needed to travel to a fire exit from one of the smaller chapels is also within regulations due to the small size of the floor plate, both structures are made from concrete which means there is less chance of the buildings burning. For the large chapel, the maximum distance needed to travel to a fire exit is Xm. The southern exit is ramped which increases the distance needed to travel to the fire exit but is still within
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Secondary Chapel Escape Route regulations and also allows for disabled access. The northern exit also allows for disabled access but wraps around the east faรงade of the chapel and back up to the entrance of the site. The issue with this is a disabled person would have to use a ramp to get down to the lower level of the site and then use the lift to get back up to ground level. If the lift is unreachable, the only route available would be around the northern perimeter of the site. This can be solved by placing a fire exit on the east side of the main chapel which leads out onto the colonnade and directly back to the site entrance. This would also reduce the amount of distance needed to travel. As for an external fire evacuation point, the inhabitants have three exits, which run along the perimeter of the site. The exit route on the north side is a shallow ramp which allows for wheelchair access. Alternatively, if the fire does not obstruct the inner south side exit, the lift can be utilised. The third exit to the south side of the site is a series of steps. Each exit leads towards the entrance of the site which is also where the refuge/evacuation point is located.Clear exit signs will be located throughout all buildings indicating the closest exit to the inhabitant in the case of a fire.
Crematorium Escape Route
Columbarium Escape Route
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Bibliography Nekropola
https://www.archdaily.com/95400/ad-classics-san-cataldo-cemetery-aldo-rossi http://www.thenews.pl/1/9/Artykul/127930,Compromise-reached-over-Polands-church-funding https://www.socialeurope.eu/faith-in-funding Images https://www.dezeen.com/2015/07/30/san-cataldo-cemetery-modena-italy-aldo-rossi-postmodernism/ https://www.pinterest.co.uk/pin/229331806003679638/ https://www.barcelonarchitecturewalks.com/enric-miralles-igualada-cemetery/ http://offline.hu/kikapcs/2016/09/braziliaban-igazi-turistalatvanyossag-vilag-legmagasabb-temetoje/ https://www.ukessays.com/essays/philosophy/how-to-express-poetic-in-architecture-philosophy-essay.php
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