crematorium lisa hartanov comprehensive project 2016
crematorium lisa hartanov comprehensive project 2016
OAK GROVE crematorium lisa hartanov comprehensive project interior architecture program department of architecture university of oregon, eugene, oregon submitted for completion of a masters of interior architecture degree june 2016 lisa hartanov fall term comprehensive project preparation and planning alison snyder winter term studio design alison snyder spring term studio design alison snyder
OAK GROVE  crematorium lisa hartanov comprehensive project interior architecture program department of architecture univer...
table of contents final project 7 fina l p rogra mming & site a na lysis 6 1 abstract comprehensive project statement investigative questions & project intentions final design presentation final short program final long program program hierarchy diagram adjacency diagram user scenarios site selection & existing conditions fi n a l t e c h nical d e sign 87 design p rocess 99 code analysis building system approach ff&e specifications early schematic design first quarter review second quarter review third quarter review pro je c t re se arch 127 interviews precedent studies bibliography
table of contents  final project 7  fina l p rogra mming   site a na lysis 6 1  abstract comprehensive project statement i...
final project
final project
abstract comprehensive project statement investigative questions & project intentions final design presentation 7
abstract comprehensive project statement investigative questions     project intentions final design presentation  7
abstract “Death is a natural as life.” - Arthur Schopenhauer, German Philosopher In a culture that is both “obsessed with and terrified with the prospect of death,” exists a building typology that suffers under a tradition of providing the most mundane and “tragically wasted opportunities” (Heathcote 38). The architecture of death in the United States fails to fully embrace its subject matter and its subsequent rituals due to a broader cultural insecurity. The irony of a culture being so sensitive to death, yet not publicly addressing it in its architecture is a cultural conundrum. As death is an integral termination to life, its’ consequence must be addressed. Oregon state has the second highest cremation rates in the nation at 70%, yet the vast majority of crematories in Oregon are either in the outskirts of town, unidentifiable, or are part of technical complexes. They are too industrial to allow final farewell rituals and therefore do not allow access for next of kin. Cremations occur at unknown times and locations. Urns are picked up with the same fanfare as dry cleaning, an exchange of goods for payment. In an attempt to shield the grieving from the realities of death, these methods of procedure have become inhumane, lack ritual and ceremony, and are insensitive to those left behind. Psychological studies concluded again and again that the more involved the next of kin are in end of life rituals, the better they cope with grief. This is in strong contrast to the death industry, which becomes increasingly more privatized. As a response to the restricted and tired funeral home architecture of the United States, which “sucks the life out of the living” (Interview 134), this project seeks to challenge the existing design within this typology by addressing death in the architecture as a means to assist the living in the grieving process and honor the departed. This project, Oak Grove Crematorium, was developed and designed to allow for individuals, families, and friends to participate in end of life rituals surrounding cremation, since Oregonians rely heavily on this practice for their end of life care. Through the marriage of sacred space and the crematory in this new architectural adaption, this facility allows ceremony and crematory to be joined, acknowledging and ritualizing cremation in the process. Thus, this project is an investigation of the crematory typology in the United States, challenging its’ solely privatized and industrial precedent. This project explores ritual and ceremony of the grieving through sacred communal space, where mourners can particpate in rituals and ceremony as a means to address and aid their grief. Through the use of sacred path, this project investigates the design of processional linkage spaces used in a variety of ways, including notions of privacy, grief and celebration, poetics, materials and atmosphere, and light to address death. This project addresses grief through the use of daylight and nature as a means to provide a greater perspective beyond death. Finally, the material selection is deeply studied and integrated in this project as a means to acknowledge time and memory. The proposed location for the Oak Grove Crematorium is in Springfield, Oregon in an existing building on a quiet hill near the heart of downtown. This “Any Town, USA” location was chosen as a means to implement this project into any Oregon city, as death is a universal passage that prevails upon us all. 9
abstract     Death is a natural as life.       - Arthur Schopenhauer, German Philosopher  In a culture that is both    obs...
comprehensive project statement death culture in the united states a lack of exposure to death Death is universal and fundamentally part of life, yet today’s Western culture does little to address it. “We sweep any evidence of death under the rug” (Coulehan 2). The larger Western culture in the United States is “obsessed with and terrified with the prospect of death” (Heathcote 38). Popular culture is riddled with its’ subject matter, yet death has little place of acknowledgment outside of the virtual world. “The majority of people still find the subject of death taboo” in the Western world according to the National Council for Palliative Care (Kelly 19). Our fears and desires of the afterlife are rarely spoken of unless required for the procurement of wills or under religious council (Coulehan 2). Death is a passage that prevails upon us all. “The manner in which much of contemporary society deals with death not only reflects current discomfort with death as part of life but helps perpetuate the myth that mortality is an event which human beings do not need to confront, attempt to own, nor live life within its framework” (Kelly 19). Our own fears, angst, and grief both keep us from addressing death, yet also reveals just how sensitive and important the subject matter actually is to us. The death and medical industry both contribute to our larger cultural taboos on death. Both industries have removed death from the public eye. “Death has become increasingly privatized and sanitized; an event which occurs at arms length and out of sight of the majority” (Kelly 19). Through industry standards, “death is an event we experience second hand on screen or in newspapers” (Kelly 19). Aseptic hospice care and nursing homes funnel the dying out of the hospitals, allowing dying to even be “taboo” in a hospital setting (Kelly 21). The funeral industry shields next of kin from “any aspect of death that might potentially offend them” (Doughty 60). Bodies are immediately whisked away before being seen by next of kin. Families can only view the deceased after a string of expensive procedures is performed on them in order to for them to appear as naturally alive as possible. Cremations occur in private industrial facilities. Burials also no longer allow witnesses to the process. Instead AstroTurf conceals the dirt around the casket, which remains above ground until after attendees have left (Doughty 60). The latest development in privatized death services is direct cremation, where cremation services can be requested and purchased online, with the remains delivered to your door in a matter of weeks (Doughty 100-101). This process allows the option for no human interaction, alienating the bereaved from any public acknowledgment of death. This privatized method of death and dying has further removed the public from the reality and acknowledgment of death in society. Even in the both religious and funerary rituals, there has been a strong emphasis on life rather than death that “dumbs down the reality and finality of death” (Kelly 2). Caskets and urns have been removed from death ceremonies, and instead celebrations of life services and memorials have taken over. In particular, in mainstream Christian culture, Celebration of Life services are devoid of the physical or symbolic presence of death in favor of “worshiping God rather than a corpse” (Hoy 116). Grief specialist Kenneth J. Doka concludes that the “simple phraseology of “celebration” attempts to give the loss a positive “spin”, but at the same time, potentially disenfranchises the deep impact of grief ” (Hoy 134). These elements have created culture where the public is “cheated out” of death, which reinforces a society unable to come to terms with it (Doughty 114). In the United States, the death architectural typology emulates the larger cultural attitudes of denial. The majority of the architecture of death in the greater northwest culture does not visually represent the importance of death, and these facilities have little presence in the modern city. Funeral homes have relied on the housing typology to make them palatable, but have also more recently moved into more convenient strip malls. Crematoriums are often not even identified from the street by hiding in nondescript sheds or industrial parks. Mausoleums and cemeteries are pushed to the outskirts of the city, where they will not bother the living. We psychologically process the death of others as a deep and emotional passage, yet its’ architecture would show that we treat death as inconsequential. German philosopher Martin Heidegger pointed out this conundrum, “If it is the awareness of impending death, which makes us truly alive, then the architecture of death should be the most considered and thoughtful aspect of our cities” (Heathcote 72-73). This lackluster architecture points to the cultural norm of disregarding death, even in the built environment. Strangely, this is out of proportion with the weight of the content. Cultural fears have crept into the architecture of death, allowing for this typology of intense emotionality to remain inherently underwhelming and faceless.
comprehensive project statement  death culture in the united states  a lack of exposure to death  Death is universal and f...
why exposure through authentic funerals and rituals matter The consequence of a culture where “death is hidden and denied” is a society where mortality is not confronted and grief is stunted (Doughty 64). Exposure to the deceased and public acknowledgment of death helps provide healing to the grieving. As Caitlin Doughty so bluntly states in her book, Smoke Gets in Your Eyes: And Other Lessons from the Crematory, “A culture that denies death is a barrier to achieving a good death” (Doughty 232). Extensive research on the effects of death and grieving has generally concluded that those who took an active role in a final ceremony and end of life care “fared better” in the grieving process (Hoy 166). These final ceremonies allow the living to “express gratitude for the ones we have lost and mourn their passing” (Kelly 73). A funeral is an end of life ceremony that is both for the living and the departed, “marking the significance of person’s life and death” (Kelly 74). “Funerals are important since they mark the passing of a human being from the society of the living to the world of the dead. Death is a passage which the funeral formalizes” (Kelly 74). T.A. Rando concluded from a 1984 study that, “funerals fulfill critical psychological and social needs following a death.” (Hoy 21). “Humans have an undeniable need to make sense of death”, and therefore the funeral has been used as a means to accomplish this (Hoy 13). Death makes us more aware of life, which in turn can cause uncertainty. “Rituals provide a sense of order and stability in the midst of chaos (Hoy 10-11). In a 1998 study, Romanoff and Terenzio defined rituals as, “cultural devices that facilitates the preservation of social order and provide way to comprehend the complex and contradictory aspects of human existence within a given societal context” (Romanoff 698). After the death of a loved one, “the need to gather with caring others is intrinsic” (Hoy 61). Therefore funeral rituals allow the larger social order to come to terms with death amongst their community. In his book, Do Funerals Matter?, William G. Hoy identifies the four main values that funerals provide: “making death real, offering people the opportunity to express thoughts and feelings about the deceased, bringing families and other mourners together to support one another, and giving people something to do at a time when so many things may seem out of a person’s control” (Hoy x-xi). These practices, therefore, are mainly a means for the living to come to terms with death. “Rituals exude vital importance to humans in the quest to make sense of the mysteries surrounding death” (Hoy 1). Funerals act as a “highly ritualized metaphor for the transitional bridge” between life and death (Hoy 10). Against the larger “death-denying” cultural attitudes of North America, funerals and their accompanying facilities “creates a space for death in a society that makes little or no time for death and dying” (Giblin and Hug 16). Through this moratorium ritual, “order and stability are achieved in the midst of chaos” (Hoy 11). Thus, it is vital to address for funerals in our society and built environment based on their essential role of providing a ritual to cope with death within a larger communal network. cremation in the united states Amongst the death ceremonies performed in the United States, the two most common rituals of preparing the departed for their final disposition are either burial or cremation. Though burial has been the most common method of caring for the deceased, national trends have seen a sharp 50% increase in cremation, particularly in the last decade (NFDA Cremation and Burial Report 2015). By the end of 2015, cremation is expected to surpass burial in popularity for the first time in the United States (NFDA Cremation and Burial Report 2015). These increases in cremation rates have been attributed to cost, land waste, environmental concerns, and “a declining sense of connection with ancestry and place” (NFDA Cremation and Burial Report 2015) (Kearl 16). Compared to traditional burial, cremation is considered a more ecologically sustainable option. Though the process does utilize a substantial amount of energy, the process does not require the extensive use of resources in the same manner as traditional burial. For cremation, caskets are often replaced with cardboard substitutes, not requiring the use of precious resources to make the elaborate and expensive caskets of traditional burial. That equates annually to “180,544 pounds of steel for caskets, 540,000 pounds of copper for lining caskets, 30,000,000 board feet of hard woods including tropical woods for caskets, 3,272,000,000 pounds of reinforced concrete for burial vaults, and 28,000,000 pounds of steel for vaults” (Fontana 85). Additionally, traditional burial allows the embalmed corpses to slowly leak chemicals into the ground. The 827,060 gallons of embalming fluid that are used annually in the United States do not make contact with the ground when cremation is chosen (Fontana 85). Burial and cremation differ in popularity regionally, with burial being the most common method in the Southeast and cremation being the most popular method in the Northwest, for example. In the state of Oregon, the cremation rate is 1111
why exposure through authentic funerals and rituals matter The consequence of a culture where    death is hidden and denie...
comprehensive project statement particularly higher than average at 70% (What to Consider 2015). Yet, despite this popularity, regional crematories are often separated from sacred ceremony spaces and are too industrial to allow final farewell ceremonies. Therefore cremations in Oregon occur without the presence of loved ones at unknown times and locations. The subsequent urns are picked up with the same fanfare as dry cleaning: an exchange of goods for payment. Though cremation is a modern mechanized process it is also a sacred transformation. It takes a corpse that is doomed to rot, and purifies the body into its’ final physical form. Cremation allows the deceased to be both transformed and reunited with the living. The United States has yet to ritualize the cremation process in the same manner given to burial (Prothero 3). It has been a ritual largely hidden away due to its frightening use of fire in a culture largely associating the combination of death and fire with hell. This task to acknowledge and ritualize the cremation process is not unprecedented. It is no surprise that humanistic crematories and subsequent rituals have developed most successfully in countries that have a healthier cultural acceptance of death, such as Scandinavia, where Sweden and Denmark share similar cremation rates to Oregon at 70% and 76% respectively (List of Countries by Cremation Rate 2016). the project - Oak Grove Crematorium As ritual and acknowledgment of death are critical to repairing the social order and assisting the living with coming to terms with death, reform is required in the death industry and its’ architecture. Its’ mundane appearances and “commercialized ‘American’ way of death”, where mourners are ushered in as “passive consumers”, leave much to be desired in providing authentic and meaningful closure (Weiss, 1995). Oregonians are choosing cremation for their final disposition, yet despite this, facilities in Oregon State that provide this service and ritual are dreadfully underwhelming, faceless, and privatized. The resultant concerns with this uninspiring architecture typology are facilities that do not hold the proper tone reserved for the importance of death as well as a stunted grieving process. Our Western culture’s unwillingness to acknowledge the fundamental and solemn requirements of the architecture of death leaves this building typology in shambles. The architecture of death suffers under a tradition of providing the most mundane and “tragically wasted opportunities” due to a broader cultural insecurity (Heathcote 38). Though death facilities will never be desirable places to attend, this does not mean they can commonly remain uninspiring and uninhabitable. This project challenges and critiques the limited and lackluster examples of the crematorium typology in the United States, where cremation is almost exclusively separated from public ceremony and next of kin and often occurs in privatized industrial parks. This project tackles how the act of cremation can be publicly addressed in both ritual and procedure through the design of an adaptive reuse building, since Oregonians rely heavily on this practice for their end of life care. Thus, this project is an investigation of the crematory typology in the United States, challenging its’ solely privatized and industrial precedent. This project explores ritual and ceremony of the grieving through sacred communal space, where mourners can participate in rituals and ceremony as a means to address and aid their grief. Through the use of sacred path, this project investigates the design of processional linkage spaces used in a variety of ways, including notions of privacy, grief and celebration, poetics, materials and atmosphere, and light to address death. This project addresses grief through the use of daylight and nature as a means to provide a greater perspective beyond death. Finally, the material selection is deeply studied and integrated in this project as a means to acknowledge time and memory. The proposed location for the Oak Grove Crematorium is in Springfield, Oregon in an existing building on a quiet hill near the heart of downtown. This adaptive reuse building is located next to an existing cemetery, separated by mature oak groves. This “Any Town, USA” location was chosen as a means to implement this project into any Oregon city, as death is a universal passage that prevails upon us all.
comprehensive project statement  particularly higher than average at 70   What to Consider 2015 . Yet, despite this popula...
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investigative questions & project intentions investigation typology: crematorium This project challenges the limited and lackluster examples of the crematorium typology in the United States, where cremation is almost exclusively separated from public ceremony and next of kin and often occurs in privatized industrial parks. Design Issue: address cremation as part of a common death ritual in the state of Oregon Design Issue: elevate process of cremation towards public ritual and away from an industrial process Design Issue: tactfully acknowledge the cremation process within the facility Design Issue: accommodate caring for the departed for services, cremation, and/or burial
investigative questions   project intentions  investigation typology  crematorium  This project challenges the limited and...
investigation sacred space: funerary practice investigation a greater perspective This project explores the symbolic and programmatic requirements for sacred spaces necessary for funerary practice. This project attempts to alleviate and acknowledge the distress of grief and mourning caused by a death. Design Issue: accommodate a variety of funeral customs and traditions within the facility Design Issue: acknowledge the physical and social divide caused by death Design Issue: delineate a sacred zone within the facility Design Issue: provide opportunities for mourners to process death through reflection & ritual Design Issue: create sacred language without reliance on sacred doctrine Design Issue: accommodate different sized communal groups Design Issue: provide connection to nature to allow mourners to reflect on the natural order Design Issue: utilize daylighting methods as a means to acknowledge something larger than death investigation sacred path investigation time and memory through material This project investigates the linkage space between the facility requirements as a means to provide an intentional and elevated experience. This project explores symbolic themes of time and memory through material selection. Design Issue: provide a processional in the facility Design Issue: demarcate a sacred path within the facility Design Issue: choreograph a journey through the facility Design Issue: use materials that remain untouched by time to represent stability and timelessness Design Issue: use materials affected by time to represent the passage of time. Design Issue: expose visitors to the crematory with preparation of the experience Design Issue: use materials that show human trace to highlight the commonality of the larger social order coming together to mourn the departed through the ages Design Issue: provide clear understanding of facility organization for the distressed state of mourning Design Issue: provide visual memorial of the departed in the facility 15
investigation sacred space  funerary practice  investigation a greater perspective  This project explores the symbolic and...
final design presentation - display
final design presentation - display
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final design presentation - full presentation oak grove c r e m a t o r i u m oak grove c r e m a t o r i u m Li s a Ha r t a n ov C o m p re h e n s ive Pro j e c t 2 0 1 6 In t e r io r Arc h it e c t u re Pro f e s s o r Al i s o n Sn yd e r Li s a Ha r t a n ov C o m p re h e n s i ve Pro j e c t 2 0 1 6 In t e r i o r Arc h i t e c t u re Pro f e s s o r Al i s o n Sn yd e r springfield, oregon springfield, oregon upper level entrance organization through diagrams the project Oregon has the second highest cremation rate in the nation at 70%. abstract investigations In a culture that is both “obsessed with and terrified with the prospect of death”, exists a building typology that suffers under a tradition of providing the most mundane and “tragically wasted opportunities”. ttypology critique: crematorium and funerary practice tritual and ceremony of the grieving through sacred space tsacred paths taddressing grief through nature and a greater perspective tacknowledgment of time and memory through material This project seeks to provide a place for families to say goodbye to their deceased loved ones and participate in the end of life process to the extent that they desire. As a response to the tired funeral home architecture of the United States, which “sucks the life out of the living”, this project seeks to challenge this typology by addressing death in the architecture as a means to assist the living in the grieving process and provide a more authentic experience. Over the last century cremation has gained in popularity for its’ hygienic methods of tending to the departed, particularly in Oregon, where the cremation rates are the second highest in the nation at 70%. Yet despite this popularity, regional crematories are often separated from sacred spaces and are too industrial to allow final farewell rituals. Therefore cremations occur at unknown times and locations, without the presence of loved ones. This project tackles how the act of cremation can be publicly addressed in both ritual and procedure, since Oregonians rely heavily on this practice for their end of life care. program services provided Ceremony Vestibules, Reflection, Circulation 40% 20% 10% large chapel spatial organization C horizontal organization vertical organization crematory placement Programmatic requirements for the living occur on the west side of the building. Programmatic requirements for the departed occur on the east side of the building. Ceremonies and cremation occur at the upper level. Arrangements and delivery of the deceased occur at the lower level. Cremation services are located at the furthest point from the entrance requiring substantial preparation before access. parti mourners’ path: preparation through progression The living progress through a series of thresholds allowing pause and preparation before each emotional step in the processional. The centrally located sacred zone is the departure point for the next of kin to proceed on. Crossing over into the realm of the departed, this journey culminates at the crematory for the final send off. Once physically transformed, the departed are reunited with the mourners back in the realm of the living in the urn presentation room. facility user group PROGRAM tarrangement of cremation / funeral tfunerals, end of life ceremonies tfinal send off ceremonies tcremation turn presentation tanniversary memorials processional upper level lobby tnext of kin tfamily of deceased tcommunity of deceased tfunerary advisors treligious or spiritual counselors tcrematory operators Arrangements 20% sacred path sacred zone axis of fire, axis of water The funerary procession divides the building North and South. The apex of the processional is the crematory as a means to acknowledge the process. The central core of the building is flanked with the scared chapels used for honoring the departed in end of life rituals. The processional, representational of an axis of fire, leading up to the crematory is juxtaposed by an axis of water of reflecting pools aligned at the threshold of the crematory. B B A A 10% Operations Lisa Hartanov Comprehensive Project 2016 Crematory OAK GROVE CREMATORIUM site and existing building C existing conditions - site information CEMETERY Just a turn off of main street, the Timber Products Company main headquarters is the axial summit at a dead end road. Surrounded by established oak groves and a gate, the building sits privately and quietly on the edge of a hill, with a neighboring cemetery park and adjacent residences. Burrowed into the hillside, the dynamic topography of the site allows for points of access at multiple levels. city location: near downtown springfield, oregon private location surrounded by trees upper level floor plan existing conditions - building information parcel size: location: existing owner: 1/8” = 1’ 1.41 acres 0’ .5 miles from downtown Springfield 4’ 8’ n 16’ Timber Products Company gross square footage: 20,961 sf ground floor area: 9,476 sf no. of floors: 3 third floor: second floor: first floor: site plan 0’ 16’ 1,253 sf 10,232 sf 9,476 sf west facade lower level entrance upper level entrance n 1/32” = 1’ 32’ 64’ C B B A A west elevation - site entry 1/8” = 1’ 0’ 4’ 8’ 16’ C lower level floor plan n 1/8” = 1’ 0’ south elevation - upper level entry 1/8” = 1’ 0’ 4’ 8’ 1 16’ South Elevation 1/8" = 1'-0" 0' 8' 16' 32' 4’ 8’ 16’
final design presentation - full presentation  oak grove c r e m a t o r i u m  oak grove c r e m a t o r i u m  Li s a Ha...
oak grove c r e m a t o r i u m oak grove c r e m a t o r i u m Lis a Ha r t a n ov Compre h e nsi ve Proje ct 2016 Inte ri or Arch i te cture Profe ssor Aliso n Sn yder Lisa Har tan ov Co m prehen sive Pro j ect 2016 In terio r Architecture Pro fesso r Aliso n Sn yder springfield, oregon small chapel springfield, oregon antechamber crematory time and memory urn presentation a greater perspective enduring materials legacy materials daylighting strategies This project investigates the use of natural materials that show an initial connection to the earth, but then remain untouched by time. These luxurious, everlasting materials transcend time and mortality. They do not exist in the confines of life and death. Instead, they speak to an enduring, timeless connection to the earth. They remain strong, solemn, and constant in a life of change. In direction opposition to the use of enduring materials, legacy materials are placed to show the passage of time through both patina and wear. This is a visual reminder that death and change comes to us all and is our natural state. Additionally, these materials are placed where they will come into contact with the users, leaving a visible legacy of human trace. The patina of metal hardware and the scratches of wood reflect the tradition of the larger social order gathering together to mourn the departed. This trace provides comfort to the grieving on those that have come before. side lighting top lighting reinforced in light - sacred text mahler’s 2nd symphony - 5th movement The facility utilizes a controlled use of daylight to provide maximum impact. The processional begins and ends in a flood of light. In the sacred zone the large chapel provides a burst of daylight from the orderly rhythm created by the building structure. The small chapel disrupts this same rhythm of life with a distortion of the building’s forms, causing a light leak to omit from an unknown source. Both chapels allow the mourners to sit in the shadows and reflect on the light. This rupture represents how a death disrupts the social order to those left behind, but also uses this daylight penetration to illuminate the caskets and symbolically represent something larger beyond death. The daylighting strategies utilize light to both comfort the griever but also control the light to provide a sense of something larger than death. The processional path starts in well lit lobby but then becomes insular, more focused, as the mourner enters a series of chambers utilized only skylights washing the wall of each room. These beacons bring the mourner to the sacred chapels and ultimate crematory, where they are faced with a different lighting condition. Placed underneath the guiding skylights, the 8 stanzas from Gustav Mahler’s Symphony No. 2 reinforces a tone of solemnity in the facility. These requiem like poetic stanzas meet the mourners at the entry and culminate in the crematory. Etched into the limestone, these illustrious texts crescendo into the building, echoing both the hope and despair that death brings to light. 1 Rise again, yes, rise again, Will you My dust, After a brief rest! Immortal life! Immortal life Will He who called you, give you. 4 O believe, You were not born for nothing! Have not for nothing, lived, suffered! 4 5 6 8 2 8 Die shall I in order to live. Rise again, yes, rise again, Will you, my heart, in an instant! That for which you suffered, To God shall it carry you! 6 O Pain, You piercer of all things, From you, I have been wrested! O Death, You conqueror of all things, Now, are you conquered! 3 O believe, my heart, O believe: Nothing to you is lost! Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for! 7 3 7 With wings which I have won for myself, In love’s fierce striving, I shall soar upwards To the light which no eye has penetrated! 5 What was created Must perish, What perished, rise again! Cease from trembling! Prepare yourself to live! 2 To bloom again were you sown! The Lord of the harvest goes And gathers in, like sheaves, Us together, who died. 1 processional path and crematory sacred chapels and reflective spaces The processional path and the final destination of the crematory utilize enduring materials as a anchor of certainty to the grieving in time when they have been unsettled by death. These materials of frozen time honor the departed as well as the spiritual passage of the mourners’ processional. This sacred path utilizes travertine walls and marble floors, materials whose luxury balances a culture afraid of addressing their own mortality. In contrast to the austere and cold material delineation of the processional and crematory, the sacred chapels and reflective gathering spaces utilize warmer, legacy materials. Ample use of woods, wool carpets, and soft merino wool upholstery work together to comfort the griever through warmth and touch. These materials provide space for quiet reflection or gathered memorial. 9' - 0" AFF 9' - 0" AFF 13' - 0" AFF 10' - 0" AFF A tumbled travertino of an off-white, honed finish allows the space beyond the crematory doors to appear both brighter and lighter than the segmented chambers of the processional. This tumbled travertino of pocked and flaked imperfection appropriately hints at the function of the crematory, providing a visceral response of ashes and bones. 9' - 0" AFF 8' - 0" AFF Reminiscent of an Oregon forest, the chapels hint to the adjacent tall woods anchoring the mourners on both sides with natural familiarity. This is complimented by a starry night sky of rich grey blues and brass elements reflecting on the ceiling. Verde marble is again used to delineate the sacred zone. Inside the chapel, this is the main altar point of the space, providing a backdrop for the casket or urn placed at the front. The use of verde marble provides a contrasting, but subtle, demarcation of the sacred entrances to the chapels. This provides a clear delineation of a sacred marker in a processional of uniformity. 16' - 6" AFF ceiling elements reinforcing the processional path 10' - 0" AFF 9' - 0" AFF 10' - 0" AFF 10' - 0" AFF 10' - 6" AFF 14' - 0" AFF 8' - 0" AFF In juxtaposition to the controlled and quiet walls and floors of the processional path, the ceiling bravely reinforces the processional path from entry to crematory through the use of small polished brass discs. Caught in the up lighting of the torches and daylight, these animated forms sparkle in the light, catching the eye and reinforcing the mourner to look up, as greater gesture to consider something larger, beyond death. Pulling the mourner forwards, these metal discs crescendo in the crematory where an expansive brass wrap embraces the mourner at the pivotal point of the processional. Due to the extensive intervention of this design element, these individual discs could be used as legacy commemoratives, allowing the departed to be symbolically memorialized within the facility. 18' - 0" AFF 20' - 0" AFF 10' - 0" AFF 19' - 0" AFF 9' - 0" AFF 9' - 0" AFF ALUMINUM BRONZE torch legend n Oak Grove Torch Wall Sconce HVAC Diffuser Eureka Voxel Ceiling Mount Sprinkler Eureka Voxel Hanging Pendant Emergency Exit Signage 2” Round Brass Disc Smoke Detector 2" 6" 6" DIODE LED STRIP IN CAVITY ø 0' - 0 3/4" 2" BRONZE TUBE STEEL, BRONZE FINISH RECEIVER PLATE SCREW BASE 2" oak grove candle stand - plan, section 3” - 1’, 1” = 1’ 9' - 0" reflected ceiling plan 1/8” = 1’ 1' - 6" ø 0' - 0 3/4" RECEIVER PLATE The custom wall sconce mimics a torch featuring a large basin to SCREW push the light upward. As triumphant pairs, these fixtures guide BASE the mourner through the processional, providing ample lighting to bounce off the ceiling. The bronze fixture features a brass interior bowl, allowing the light to reflect off it a shiny surface onto a ceiling of brass discs. The armature of the fixture also uses the same elegant pose as the door hardware and candle stand. 11' - 6" AFF Brass hardware and signage was elected for a similar strategy. In addition to its luster and sparkle, brass also reveals human touch and patina over time. This desire to show wear is a reminder to the grieving of the legacy of those that have gathered together before to mourn the departed and ultimately remind the living that death is a condition mourned through the ages. 1 1/4" 1' - 10" 2" 9' - 0" AFF As a method to show care, intentionality, and honor, selection has strategized lush, real materials. Leather, mohair, wood, and brass have been particularly selected as materials that come into contact with guests on the seating and hardware. Rooms of informal and reflective function utilize seating of exuberant mohair of a comforting and rich nature. 1 1/4" As fire is an direct connection to cremation, two custom fixtures used metaphoric and miniature representation to reinforce this primal use of light. Candle stands were designed with ritual in mind, for those passing to light a candle, as a symbolic gesture. This also hearkens back to an eternal flame, a timeless guide to those in dark. These simple fixtures utilized the same elegant, but mournful pose as the door hardware in bronze. Placed in groups, these candle stands use repetition to reinforce the axis of fire throughout the facility. 4' - 0" furniture, finishes, and equipment This facility requires minimal, but particular, furnishings. Knoll chairs and sofas have been selected due to their orderly and elegant method of blending into the background, for example. Yet, the FF&E pieces that were chosen as features must also find a delicate balance between semiotics of grief and celebration. They must not force an emotion nor act utilitarian, but set the tone of the facility as a place to acknowledge death that is respectful of the departed. ALUMINUM BRONZE candle stand 9' - 0" AFF 4' - 0" 9' - 0" AFF Sacred spaces substitute soft upholstery for wood, allowing the ceremonies to command upright reality, particularity since the majority of ceremonies are of short duration. These slab and block style shapes in the large chapel and urn presentation room are a means to show little manipulation to the true material as well as highlight the heavy weight of grief. The small chapel instead relies on stacked seating to allow for a variety of seating configurations and room functions in addition to funerals, such as wakes. Yet, these Carl Hansen elbow chairs sill utilize wood for the same reasons. Wood was also selected for the pulpit, urn pedestal, and catafalque due to its ability to show human trace through scratches, scrapes and patina as well as its familiar and natural semiotics. CANDLE RECEPTACLE CANDLE RECEPTACLE custom fixtures 9' - 0" AFF 10' - 0" AFF 8’ 16’ THING GAUGE BRONZE BASIN 1' - 10" 2" 4’ 2" 1' - 6" 0’ DIODE LED STRIP IN CAVITY 2" BRONZE ANGLED SUPPORT 2" BRONZE TUBE STEEL, BRONZE FINISH 3' - 0" 3' - 0" 3' - 0" 2" 3' - 0" 9' - 0" 9' - 0" 9' - 0" sacred door elevation 3/4" 1 9/16" 1 1/2" 2" 10" 6" 3/4" 5/16" 5 1/4" 1" 5 1/4" 6" 9" 6" 9" 1/4" 1 9/16" 5/16" 2' - 8 1/2" 1" 1 1/2" 1 3/8" 1 9/16" 3/4" LINEAR SKYLIGHT 1" 1/4" 9" 9/16" 3 3/8" 3” = 1’ 2 1/2" 5 1/4" 3 3/8" 6" 3 3/8" 9/16" 1 1/8" non - sacred hardware elevation 1” = 1’ sacred hardware elevation Crematory Entrance - The form of the sacred entrance hardware is elongated and stretched to cover the entire door, offering a cumulative expression and providing dignity to the cremation process. water 3/4" 5/16" 3 3/8" 1" 1 1/8" Sacred Entrance - The dramatic but subtle handles of the sacred doors call attention to these doorways as set apart. 6" 3/4" 5/16" 9" 5 1/4" 9" 9/16" 1 9/16" Non-sacred Entrance - a square handle trimmed in the soften right angle mirrors the sacred doors in minor scale. 9/16" 2' - 8 1/2" 1/4" 1 1/8" 1" 9/16" 1 9/16" 2' - 8 1/2" 3 3/8" 9/16" 1 1/8" 1 1/8" the sacred and profane 1/4" 1 1/8" 9/16" sacred hardware profile 1 1/8" 5 1/4" 1/2” = 1’ 3” = 1’ 1 1/2" 3 3/8" 3 3/8" 9/16" non - sacred hardware profile 1 3/8" 9/16" 3/4" 5/16" 5/16" 6" 9" 9" 2' - 8 1/2" 6" 9/16" 1 9/16" 1 9/16" 2 1/2" 9/16" 2' - 8 1/2" 2' - 8 1/2" 9" 5 1/4" 1" 9" BRONZE DOORS crematory door elevation 1 3/8" 5 1/4" 9" 1/4" 1" 5/16" 1" 9/16" 1/4" 1/4" 2' - 8 1/2" 1 1/2" 1 1/2" BRONZE DOORS 2 1/2" 1/2” = 1’ 2" BRONZE ANGLED SUPPORT nature Views of nature have been poignantly placed in the more stressful room of the facility. The arrangement room, urn presentation, entrances, and informal gathering spaces all look out towards private courtyards. As a calming method, these views allow mourners to reflect on the natural order. 4" 1 1/2" 1 1/2" 9" 1 3/8" 9" 1/2” =1 1’3/8" 3/4" 9' - 0" 4" non - sacred door elevation 2 1/2" 9" 1' - 2 7/8" 9' - 0" fire At the heart of the facility on the lower level, a vigil room is placed symbolically at the threshold with the departed programmatic zone of the building. As apex of the axis on the lower level, mourners can pass by after arranging a service or picking up the urn of their loved one and light a candle in their honor. POLISHED BRASS HARDWARE 2 1/2" POLISHED BRASS HARDWARE 2 1/2" THING GAUGE BRONZE BASIN 7' - 0" 7' - 0" 7' - 0" 9' - 0" 9' - 0" 9' - 0" 9' - 0" BRONZE DOORS 9" 4" 9/16" 9' - 0" reflection and ritual POLISHED BRASS HARDWARE 2 1/2" 1 3/8" 9/16" 10" oak grove torch sconce - elevation, section 2.25” = 1’ 3' - 0" BRONZE DOORS 1 3/8" 1" 3' - 0" 3' - 0" 3' - 0" POLISHED BRASS HARDWARE 2" human connection - hardware Heavy satin bronze doors in a deep rich brown are paired with polished brass hardware that is selected to show human trace and wear over the ages. As a reminder of those who came before, the door hardware is a location most visitors will come into contact with, leaving their legacy of honoring the departed through the patina of human touch. The form of the hardware is mirrored of itself, representational of the divide between life and death, chosen in a soften, but mournful pose of three variations. The scale of the hardware changes with importance. The standard hardware is the smallest, the sacred hardware is the most graceful, followed by the elongated and dramatic hardware of the crematory entrance. 9' - 0" 3' - 0" An axis of water symbolically breaks through the heart of the facility. A series of reflecting pools are placed outside of the most sacred rooms of Oak Grove. The arrangement office, urn presentation, and each chapel open up to the water. On the lower level, the water is used to reflect light inward. Mourners place stones in the water as a symbolic gesture of farewell. brass EXTENDED WOOD WALL, CHERRY ACOUSTIC BACKER Through the use brass pavers, next of kin are able to commemorate their departed loved ones by replacing a stone in the exterior cobble with a small plaque. These visual legacies mark the entrances in a glistening reminder of those who have come before while also providing honor to the departed. WOOD, CHERRY 2x4 STUD WALL INSULATED CAVITY 2x4 STUD WALL 1” = 1’ 5/8" BACKER BOARD SETTING MATERIAL 5/8" VERDE IMPERIAL TUMBLED MARBLE ETCHED TEXT, 1/4" wall detail - chapel to processional 1” = 1’ section a - processional section b - large chapel section c - both chapels 0’ 0’ 0’ 1/8” = 1’ 4’ 8’ 16’ 1/8” = 1’ 4’ 8’ 16’ 1/8” = 1’ 4’ 8’ 16’ 19 2" 3' - 0" 2" leaving legacy 3' - 0" 3' - 0" 1' - 2 7/8" 3' - 0"
oak grove c r e m a t o r i u m  oak grove c r e m a t o r i u m  Lis a Ha r t a n ov Compre h e nsi ve Proje ct 2016 Inte...
final design presentation - perspective walk through upper level entrance
final design presentation - perspective walk through  upper level entrance
upper level lobby 21
upper level lobby  21
final design presentation - perspective walk through processional
final design presentation - perspective walk through  processional
large chapel 23
large chapel  23
final design presentation - perspective walk through small chapel
final design presentation - perspective walk through  small chapel
antechamber 25
antechamber  25
final design presentation - perspective walk through crematory
final design presentation - perspective walk through  crematory
urn presentation 27
urn presentation  27
final design presentation - the project Oregon has the second highest cremation rate in the nation at 70%. investigations • typology critique: crematorium and funerary practice • ritual and ceremony of the grieving through sacred space • sacred paths • addressing grief through nature and a greater perspective • acknowledgment of time and memory through material abstract In a culture that is both “obsessed with and terrified with the prospect of death”, exists a building typology that suffers under a tradition of providing the most mundane and “tragically wasted opportunities”. This project seeks to provide a place for families to say goodbye to their deceased loved ones and participate in the end of life process to the extent that they desire. As a response to the tired funeral home architecture of the United States, which “sucks the life out of the living”, this project seeks to challenge this typology by addressing death in the architecture as a means to assist the living in the grieving process and provide a more authentic experience. Over the last century cremation has gained in popularity for its’ hygienic methods of tending to the departed, particularly in Oregon, where the cremation rates are the second highest in the nation at 70%. Yet despite this popularity, regional crematories are often separated from sacred spaces and are too industrial to allow final farewell rituals. Therefore cremations occur at unknown times and locations, without the presence of loved ones. This project tackles how the act of cremation can be publicly addressed in both ritual and procedure, since Oregonians rely heavily on this practice for their end of life care.
final design presentation - the project  Oregon has the second highest cremation rate in the nation at 70 .  investigation...
services provided program PROGRAM Ceremony Vestibules, Reflection, Circulation 40% • arrangement of cremation / funeral • funerals, end of life ceremonies • final send off ceremonies • cremation • urn presentation • anniversary memorials 20% 10% Arrangements 20% facility user group 10% Operations Lisa Hartanov Comprehensive Project 2016 Crematory OAK GROVE CREMATORIUM • next of kin • family of deceased • community of deceased • funerary advisors • religious or spiritual counselors • crematory operators 29
services provided program  PROGRAM  Ceremony  Vestibules, Reflection, Circulation  40       arrangement of cremation   fun...
final design presentation - organization through diagrams horizontal organization Programmatic requirements for the living occur on the west side of the building. Programmatic requirements for the departed occur on the east side of the building. parti mourners’ path: preparation through progression The living progress through a series of thresholds, allowing pause and preparation before each emotional step in the processional. The centrally located sacred zone is the departure point for the next of kin to proceed on. Crossing over into the realm of the departed, this journey culminates at the crematory for the final send off. Once physically transformed, the departed are reunited with the mourners back in the realm of the living in the urn presentation room. vertical organization Ceremonies and cremation occur at the upper level. Arrangements and delivery of the deceased occur at the lower level.
final design presentation - organization through diagrams  horizontal organization Programmatic requirements for the livin...
crematory placement Cremation services are located at the furthest point from the entrance requiring substantial preparation before access. sacred zone The central core of the building is flanked with the scared chapels used for honoring the departed in end of life rituals. sacred path The funerary procession divides the building North and South. The apex of the processional is the crematory as a means to acknowledge the process. axis of fire, axis of water The processional, representational of an axis of fire, leading up to the crematory is juxtaposed by an axis of water of reflecting pools aligned at the threshold of the crematory. 31
crematory placement Cremation services are located at the furthest point from the entrance requiring substantial preparati...
final design presentation - site and existing building cemetery s. c street s. 4th street site plan 0’ 16’ n 32’ 64’ Site plan developed with Landscape Architect, James Voelckers.
final design presentation - site and existing building  cemetery  s. c street  s. 4th street  site plan 0     16     n 32 ...
existing conditions - site Just a turn off of main street, the Timber Products Company main headquarters is the axial summit at a dead end road. Surrounded by established oak groves and a gate, the building sits privately and quietly on the edge of a hill, with a neighboring cemetery park and adjacent residences. Burrowed into the hillside, the dynamic topography of the site allows for points of access at multiple levels. CEMETERY city location: near downtown springfield, oregon private location surrounded by trees existing conditions - building parcel size: 1.41 acres location: .5 miles from downtown existing owner: Timber Products Co. gross square footage: 20,961 sf ground floor area: 9,476 sf no. of floors: 3 third floor: 1,253 sf second floor: 10,232 sf first floor: 9,476 sf west facade lower level entrance upper level entrance 33
existing conditions - site Just a turn off of main street, the Timber Products Company main headquarters is the axial summ...
final design presentation - entry elevations west elevation - site entry 0’ 4’ 8’ 16’
final design presentation - entry elevations  west elevation - site entry 0    4    8     16
south elevation - upper level entry 0’ 4’ 8’ 1 South Elevation 1/8" = 1'-0" 0' 16’ 8' 16' 32' 35
south elevation - upper level entry 0    4    8    1  South Elevation 1 8    1 -0   0   16    8   16   32   35
final design presentation - spatial organization C B B A A C upper level floor plan n 0’ 4’ 8’ 16’
final design presentation - spatial organization  C  B  B  A  A  C  upper level floor plan n 0    4     8     16
C B B A A C lower level floor plan n 0’ 4’ 8’ 16’ 37
C  B  B  A  A  C  lower level floor plan n 0    4     8     16     37
final design presentation - sections section a - processional 0’ 4’ 8’ 16’ section b - large chapel 0’ 4’ 8’ 16’
final design presentation - sections  section a - processional 0    4     8     16     section b - large chapel 0    4    ...
section c - both chapels 0’ 4’ 8’ 16’ section d - entry 0’ 4’ 8’ 16’ 39
section c - both chapels 0    4     8     16     section d - entry 0    4     8     16     39
final design presentation - a greater perspective daylighting strategies side lighting The facility utilizes a controlled use of daylight to provide maximum impact. The processional begins and ends in a flood of light. In the sacred zone the large chapel provides a burst of daylight from the orderly rhythm created by the building structure. The small chapel disrupts this same rhythm of life with a distortion of the building’s forms, causing a light leak to omit from an unknown source. Both chapels allow the mourners to sit in the shadows and reflect on the light. This rupture represents how a death disrupts the social order to those left behind, but also uses this daylight penetration to illuminate the caskets and symbolically represent something larger beyond death. top lighting The daylighting strategies utilize light to both comfort the griever but also control the light to provide a sense of something larger than death. The processional path starts in well lit lobby but then becomes insular, more focused, as the mourner enters a series of chambers utilizing only skylights that wash the wall of each room. These beacons bring the mourner to the sacred chapels and ultimate crematory, where they are faced with different lighting conditions.
final design presentation - a greater perspective  daylighting strategies  side lighting The facility utilizes a controlle...
reinforced in light - sacred text Placed underneath the guiding skylights, the 8 stanzas from Gustav Mahler’s Symphony No. 2 reinforces a tone of solemnity in the facility. These requiem-like poetic stanzas meet the mourners at the entry and culminate in the crematory. Etched into the limestone, these illustrious texts crescendo into the building, echoing both the hope and despair that death brings to light. 4 3 5 6 7 8 2 1 mahler’s 2nd symphony - 5th movement 1 Rise again, yes, rise again, Will you My dust, After a brief rest! Immortal life! Immortal life Will He who called you, give you. 2 To bloom again were you sown! The Lord of the harvest goes And gathers in, like sheaves, Us together, who died. 3 O believe, my heart, O believe: Nothing to you is lost! Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for! 4 O believe, You were not born for nothing! Have not for nothing, lived, suffered! 5 What was created Must perish, What perished, rise again! Cease from trembling! Prepare yourself to live! 6 O Pain, You piercer of all things, From you, I have been wrested! O Death, You conqueror of all things, Now, are you conquered! 7 With wings which I have won for myself, In love’s fierce striving, I shall soar upwards To the light which no eye has penetrated! 8 Die shall I in order to live. Rise again, yes, rise again, Will you, my heart, in an instant! That for which you suffered, To God shall it carry you! 41
reinforced in light - sacred text Placed underneath the guiding skylights, the 8 stanzas from Gustav Mahler   s Symphony N...
final design presentation - a greater perspective ceiling elements 9' - 0" AFF 9' - 0" AFF 13' - 0" AFF 16' - 6" AFF 10' - 0" AFF 9' - 0" AFF 8' - 0" AFF 10' - 0" AFF 9' - 0" AFF 10' - 0" AFF 10' - 0" AFF 10' - 6" AFF 14' - 0" AFF 8' - 0" AFF 18' - 0" AFF 20' - 0" AFF 10' - 0" AFF 19' - 0" AFF 9' - 0" AFF 9' - 0" AFF 9' - 0" AFF 10' - 0" AFF 9' - 0" AFF 9' - 0" AFF 9' - 0" AFF 11' - 6" AFF reflected ceiling plan n 0’ 4’ 8’ 16’ legend Oak Grove Torch Wall Sconce HVAC Diffuser Eureka Voxel Ceiling Mount Sprinkler Eureka Voxel Hanging Pendant Emergency Exit Signage 2” Round Brass Disc Smoke Detector
final design presentation - a greater perspective  ceiling elements  9  - 0  AFF  9  - 0  AFF  13  - 0  AFF  16  - 6  AFF ...
reinforcing the processional path In juxtaposition to the controlled and quiet walls and floors of the processional path, the ceiling bravely reinforces the processional path from entry to crematory through the use of small polished brass discs. Caught in the up lighting of the torches and daylight, these animated forms sparkle in the light, catching the eye and reinforcing the mourner to look up, as greater gesture to consider something larger, beyond death. Pulling the mourner forwards, these metal discs crescendo in the crematory where an expansive brass wrap embraces the mourner at the pivotal point of the processional. Due to the extensive intervention of this design element, these individual discs could be used as legacy commemoratives, allowing the departed to be symbolically memorialized within the facility. 43
reinforcing the processional path In juxtaposition to the controlled and quiet walls and floors of the processional path, ...
2" final design presentation - custom fixtures 1' - 6" 2" THING GAUGE BRONZE BASIN 1' - 10" DIODE LED STRIP IN CAVITY 2" BRONZE ANGLED SUPPORT 1' - 2 7/8" 2" BRONZE TUBE STEEL, BRONZE FINISH 2" 9' - 0" 1" NG GAUGE ONZE BASIN oak grove torch sconce - elevation, section 2" BRONZE ANGLED SUPPORT The custom wall sconce mimics a torch featuring a large basin to push the light upward. As triumphant pairs, these fixtures guide the mourner through the processional, providing ample lighting to bounce off the ceiling. The bronze fixture features a brass interior bowl, allowing the light to reflect off its’ shiny surface onto a ceiling1"of brass discs. The armature of the fixture also uses the same elegant pose as the door hardware and candle stand. 2" 1' - 2 7/8" torch 10"
2   final design presentation - custom fixtures  1  - 6   2   THING GAUGE BRONZE BASIN  1  - 10   DIODE LED STRIP IN CAVIT...
DLE EPTACLE CANDLE RECEPTACLE MINUM NZE ALUMINUM BRONZE 4' - 0" 6" 1 1/4" 6" 1 1/4" ø 0' - 0 3/4" ø 0' - 0 3/4" CEIVER ATE RECEIVER PLATE REW SE SCREW BASE oak grove candle stand - plan, section candle stand As fire is a direct connection to cremation, two custom fixtures used metaphoric and miniature representation to reinforce this primal use of light. Candle stands were designed with ritual in mind, for those passing to light a candle, as a symbolic gesture. This also hearkens back to an eternal flame, a timeless guide to those in dark. These simple fixtures utilized the same elegant, but mournful pose as the door hardware in bronze. Placed in groups, these candle stands use repetition to reinforce the axis of fire throughout the facility. 45
DLE EPTACLE  CANDLE RECEPTACLE  MINUM NZE  ALUMINUM BRONZE  4  - 0   6   1 1 4   6   1 1 4      0  - 0 3 4      0  - 0 3 4...
final design presentation - ritual and reflection fire At the heart of the facility on the lower level, a vigil room is placed symbolically at the threshold of the departed programmatic zone of the building. As the apex of the lower level, mourners can pass by after arranging a service or picking up the urn of their loved one and light a candle in their honor. water An axis of water symbolically breaks through the heart of the facility. A series of reflecting pools are placed outside of the most sacred rooms of Oak Grove. The arrangement office, urn presentation, and each chapel open up to the water. On the lower level, the water is used to reflect light inward. Mourners place stones in the water as a symbolic gesture of farewell.
final design presentation - ritual and reflection  fire At the heart of the facility on the lower level, a vigil room is p...
nature Views of nature have been poignantly placed in the more stressful room of the facility. The arrangement room, urn presentation, entrances, and informal gathering spaces all look out towards private courtyards. As a calming method, these views allow mourners to reflect on the natural order. brass Through the use brass pavers, next of kin are able to commemorate their departed loved ones by replacing a stone in the exterior cobble with a small plaque. These visual legacies mark the entrances in a glistening reminder of those who have come before while also providing honor to the departed. 47
nature Views of nature have been poignantly placed in the more stressful room of the facility. The arrangement room, urn p...
final design presentation - time and memory materials and finish strategy enduring materials This project investigates the use of natural materials that show an initial connection to the earth, but then remain untouched by time. These luxurious, everlasting materials transcend time and mortality. They do not exist in the confines of life and death. Instead, they speak to an enduring, timeless connection to the earth. They remain strong, solemn, and constant in a life of change. legacy materials In direction opposition to the use of enduring materials, legacy materials are placed to show the passage of time through both patina and wear. This is a visual reminder that death and change comes to us all and is our natural state. Additionally, these materials are placed where they will come into contact with the users, leaving a visible legacy of human trace. The patina of metal hardware and the scratches of wood reflect the tradition of the larger social order gathering together to mourn the departed. This trace provides comfort to the grieving on those that have come before.
final design presentation - time and memory  materials and finish strategy  enduring materials This project investigates t...
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final design presentation - time and memory processional path and crematory The processional path and the final destination of the crematory utilize enduring materials as a anchor of certainty to the grieving in time when they have been unsettled by death. These materials of frozen time honor the departed as well as the spiritual passage of the mourners’ processional. This sacred path utilizes travertine walls and marble floors, materials whose luxury balances a culture afraid of addressing their own mortality. The use of verde marble provides a contrasting, but subtle, demarcation of the sacred entrances to the chapels. This provides a clear delineation of a sacred marker in a processional of uniformity. A tumbled travertino of an off-white, honed finish allows the space beyond the crematory doors to appear both brighter and lighter than the segmented chambers of the processional. This tumbled travertino of pocked and flaked imperfection appropriately hints at the function of the crematory, providing a visceral response of ashes and bones.
final design presentation - time and memory  processional path and crematory The processional path and the final destinati...
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final design presentation - time and memory sacred chapels and reflective spaces In contrast to the austere and cold material delineation of the processional and crematory, the sacred chapels and reflective gathering spaces utilize warmer, legacy materials. Ample use of woods, wool carpets, and soft merino wool upholstery work together to comfort the griever through warmth and touch. These materials provide space for quiet reflection or gathered memorial. Reminiscent of an Oregon forest, the chapels hint to the adjacent tall woods anchoring the mourners on both sides with natural familiarity. This is complimented by a starry night sky of rich grey blues and brass elements reflecting on the ceiling. Verde marble is again used to delineate the sacred zone. Inside the chapel, this is the main altar point of the space, providing a backdrop for the casket or urn placed at the front.
final design presentation - time and memory  sacred chapels and reflective spaces In contrast to the austere and cold mate...
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final design presentation - time and memory furniture, finishes, and equipment This facility requires minimal, but particular, furnishings. Knoll chairs and sofas have been selected due to their orderly and elegant method of blending into the background, for example. Yet, the FF&E pieces that were chosen as features must also find a delicate balance between semiotics of grief and celebration. They must not force an emotion nor act utilitarian, but set the tone of the facility as a place to acknowledge death that is respectful of the departed. As a method to show care, intentionality, and honor, selection has strategized lush, real materials. Leather, mohair, wood, and brass have been particularly selected as materials that come into contact with guests on the seating and hardware. Rooms of informal and reflective function utilize seating of exuberant mohair of a comforting and rich nature. Sacred spaces substitute soft upholstery for wood, allowing the ceremonies to command upright reality, particularity since the majority of ceremonies are of short duration. These slab and block style shapes in the large chapel and urn presentation room are a means to show little manipulation to the true material as well as highlight the heavy weight of grief. The small chapel instead relies on stacked seating to allow for a variety of seating configurations and room functions in addition to funerals, such as wakes. Yet, these Carl Hansen elbow chairs sill utilize wood for the same reasons. Wood was also selected for the pulpit, urn pedestal, and catafalque due to its ability to show human trace through scratches, scrapes and patina, as well as its familiar and natural semiotics. Brass hardware and signage was elected for a similar strategy. In addition to its luster and sparkle, brass also reveals human touch and patina over time. This desire to show wear is a reminder to the grieving of the legacy of those that have gathered together before to mourn the departed, and ultimately remind the living that death is a condition mourned through the ages.
final design presentation - time and memory  furniture, finishes, and equipment This facility requires minimal, but partic...
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final design presentation - leaving legacy human connection - hardware Heavy satin bronze doors in a deep rich brown are paired with polished brass hardware that is selected to show human trace and wear over the ages. As a reminder of those who came before, the door hardware is a location most visitors will come into contact with, leaving their legacy of honoring the departed through the patina of human touch. The form of the hardware is mirrored of itself, representational of the divide between life and death, chosen in a soften, but mournful pose of three variations. The scale of the hardware changes with importance. The standard hardware is the smallest, the sacred hardware is more graceful, followed by the elongated and dramatic hardware of the crematory entrance.
final design presentation - leaving legacy  human connection - hardware Heavy satin bronze doors in a deep rich brown are ...
3' - 0" 3' - 0" 3' - 0" 3' - 0" 7' - 0" 7' - 0" ASS HARDWARE 3' - 0" 9' - 0" 9' - 0" 9' - 0" 9' - 0" 3' - 0" 3' - 0" RS 9' - 0" 3' - 0" POLISHED BRASS HARDWARE 4" 4" 2 1/2" 9" 1 3/8" 1 1/2" 5 1/4" 3/4" 5/16" 1 9/16" 1" 1" 6" 9" 2' - 83/4" 1/2" 5 1/4" 1/4" POLISHED BRASS HARDWARE 1/4" 9/16" 1 9/16" 3/4" 2' - 8 1/2" 5 1/4" 3/4" 1" 5/16" 5/16" 2' - 8 1/2" BRONZE DOORS 5/16" 2 1/2" 1/4" 1/4" 1" 9" crematory door elevation 1 3/8" BRONZE DOORS 9' - 0" POLISHED BRASS HARDWARE sacred door elevation 1 1/2" non - sacred door elevation 1 1/2" 1 3/8" 9" 9/16" 2 1/2" 5 1/4" 6" BRONZE DOORS sacred hardware profile 9" 6" non - sacred hardware profile 9/16" 3 3/8" 6" 9" 9/16" 2 1/2" 1 1/8" 9" 1 1/8" 1 3/8" 1 1/2" 3/4" 5/16" 1" non-sacred entrance - a square handle trimmed in the soften right angle mirrors the sacred doors in minor scale. 5 1/4" subtle handles of the sacred doors call attention to these doorways as set apart. 9" crematory entrance - The form of the 9/16" 3 3/8" non - sacred hardware elevation 1 1/8" sacred hardware elevation sacred entrance hardware is elongated and stretched to cover the entire door, offering a cumulative expression and providing dignity to the cremation process. 57 1" 6" 1 9/16" sacred entrance - The dramatic but 2' - 8 1/2" 6" 9/16" 1 9/16" 1/4" 9/16" 9/16" 3 3/8" 3 3/8" 1 1/8"
3  - 0  3  - 0   3  - 0   3  - 0   7  - 0   7  - 0   ASS HARDWARE 3  - 0   9  - 0   9  - 0   9  - 0   9  - 0   3  - 0   3 ...
final design presentation - assembly the sacred and profane LINEAR SKYLIGHT EXTENDED WOOD WALL, CHERRY ACOUSTIC BACKER WOOD, CHERRY 2x4 STUD WALL INSULATED CAVITY 2x4 STUD WALL 5/8" BACKER BOARD SETTING MATERIAL 5/8" VERDE IMPERIAL TUMBLED MARBLE ETCHED TEXT, 1/4" wall detail - chapel to processional
final design presentation - assembly  the sacred and profane  LINEAR SKYLIGHT  EXTENDED WOOD WALL, CHERRY ACOUSTIC BACKER ...
site model section slice - both chapels 59
site model  section slice - both chapels  59
final programming & site analysis
final programming   site analysis
final short program final long program program hierarchy diagram adajcency diagram user scenarios site selection existing conditions 61
final short program final long program program hierarchy diagram adajcency diagram user scenarios site selection existing ...
final short program room type Ceremony Spaces Upper Level Entrance Large Chapel Small Chapel Processional Informal Family Room Urn Presentation Vigil Coat Room quantity square footage 1 646 100 Processional, Restrooms, Coat Room 1680 100 Processional, Informal, Small Chapel 900 49 Processional, Informal, Large Chapel 3,500 200 Upper Level Entrance, Crematory 800 30 Chapels, Processional 400 20 Chapels, Processional 384 49 Processional, Vigil 144 12 Processional, Urn Presentation 64 - 416 30 Informal 480 20 Informal 520 12 Lower Level Entrance 646 100 Processional 568 - Processional 64 - Processional 1 1 1 2 2 1 1 1 total occupancy adjacencies Upper Level Entrance Arrangements Lower Level Entrance Arrangement Room Office Withdrawing Restrooms (x4) Maintenance Rm. Crematory Antechamber Crematory Control Room Storage Receiving Hall Preparation Room Break Room Mechanical Room Ventilation Shaft 1 1 1 1 5 1 1 1 1 1 1 1 1 1 1 646 100 Crematory, Processional 1800 20 Antechamber 224 12 Crematory 216 - Processional 1600 20 Preparation Room 280 12 Receiving Hall 240 12 Receiving Hall 416 - Ventilation Shaft 320 - Mechanical Room Total Square Footage 17,000 Gross Available Square Footage 20,961
final short program  room type Ceremony Spaces   Upper Level Entrance  Large Chapel Small Chapel Processional Informal Fam...
lighting furniture, fixtures, & equipment activities Daylight, Ambient, Electric Benches, Signage, Display Case Arrival point for ceremonies Daylight, Ambient, Electric Benches, Pulpit, Catafalque, Pedestal Ceremonies, services, wakes Daylight, Ambient, Electric Benches, Pulpit, Catafalque, Pedestal Ceremonies, services, wakes Daylight, Ambient, Electric Benches, Signage Processional to chapels and crematory Daylight, Ambient, Electric Benches, Drinking Fountain, Casework Informal gathering before and after events Daylight, Ambient, Electric Sofa, Chairs, Table, Casework Private room for family before ceremonies Daylight, Ambient, Electric Benches, Pedestal Receiving the urn Ambient, Electric Candle Holders Lighting a candle in honor of the departed Ambient, Electric Coat Hangers, Closet Rod Storing coats for guests Daylight, Electric, Task Umbrella Stand, Signage, Display Case Check in with reception for services Daylight, Electric, Task Chairs, Tables, Sofas, Casework Arranging a ceremony or cremation Daylight, Electric, Task Task Chairs, Desks, Casework Managerial tasks Daylight, Ambient, Electric Sofas Quiet informal sitting area Ambient, Electric Water Closets, Urinals, Sinks, etc. Restrooms Electric Shelves, Mop Sink Maintenance storage Daylight, Ambient, Electric Benches Entrance threshold for crematory Daylight, Ambient, Electric Retorts, Conveyor, Rakes, Cremulator Final send off ceremony, cremation Ambient, Electric, Task Casework, Task Chairs, Tech. Equipment Monitoring retorts Ambient, Electric Shelves Storing facility supplies Daylight, Ambient, Electric Wide Exterior Doors, Gurneys, Coolers Receiving & storing departed Daylight, Electric, Task Stainless Steel Table, Sink, Casework Preparing the body for viewing & cremation Electric Crematory & Cooler Mechanical Equip. Facility heating and cooling Electric Crematory Ventilation Equipment Facility ventilation 63
lighting  furniture, fixtures,   equipment  activities  Daylight, Ambient, Electric  Benches, Signage, Display Case   Arri...
final long program upper level entrance large chapel Square Footage: 650 Square Footage: 1700 Occupancy: 100 Occupancy: 100 Adjacencies: Processional, Restrooms, Coat Room Adjacencies: Processional, Informal, Small Chapel Activities: Upon entering the facility, the lobby greets the attendee for various ceremonies. From this entrance they will be able to use restrooms, find stairs and the elevator, greet other attendees, sit and wait, and move forward towards the chapels. Activities: Mourners will gather in this sacred space for funerals, ceremonies, wakes, reflection, sitting, singing, watching, listening, and speaking. Aesthetics Characteristics: This entry is meant to be bright, solemn, rhythmic, and orderly. Aesthetics Characteristics: This sacred place appears visually different from the rest of the facilities to set it apart. The chapel is reflective, peaceful, solemn, hopeful, with a controlled color palette. Furniture, Fixtures, Equipment: Benches, signage, display case. Furniture, Fixtures, Equipment: fixed pews, pulpit, catafalque, urn stand, wreath stand, and hooks. Illumination and View: Compared to the rest of the processional, the ceremony entrance has an abundance of windows and sidelighting, pointed towards the oak groves on the property. The space is intended to be flooded with light. Wall sconces decorate the columns and produce a rhythm shining upward on the ceiling where reflective metal discs guide the way towards the chapels. Exterior shading devices are required over the western facing windows. Illumination and View: Daylight is desired to be particularly controlled in order to provide maximum sacred impact. Compared to the internal processional, the 4’ rhythm of the building is broken by a pop out of glazing at the front of the chapel, illuminating the catafalque and pulpit. Fixed wall sconces are rhythmically placed on the protruding columns to emphasize this rhythm. Ceiling mounted fixtures are sporadically placed for added illumination. Polished brass discs placed on the ceiling catch the light and add sparkle to the chapel. Health, Safety, and Security: As the entrance to the upper level, this space requires locking door hardware for the exterior. Acoustics: As the point of entry and the furthest point from the chapels, the acoustics are not as critical in this room as in others. Finishes Requirements: As the start of the processional, the materials are to be enduring materials, those that are unaffected by time, such as marble and travertine. The uniformity of the space is meant to show little hierarchy to one area. The flooring requires ample slip resistance and durability. The benches require high durability rub count. Health, Safety, and Security: This chapel requires two exits for the occupancy size. This space is semi-private requiring locking hardware. Acoustics: This chapel is to remain undisturbed from outside noise due to the sacred nature of the facility. High acoustic treatment is required in both ceiling and wall paneling. Finishes Requirements: As a sacred space, this chapel requires high end materials. The front altar wall requires a material marking it as a sacred zone. A high amount of wood is desired in the chapel to reference nature. The surfaces that come into contact with people - benches, catafalque, pulpit - require a material that will show legacy and human trace through scratches, patina, and chipping.
final long program  upper level entrance  large chapel  Square Footage  650  Square Footage  1700  Occupancy  100  Occupan...
small chapel processional Square Footage: 900 Square Footage: 3,500 Occupancy: 49 Occupancy: 150 Adjacencies: Processional, Informal, Large Chapel Adjacencies: Processional to chapels and crematory Activities: Mourners will gather in this sacred space for funerals, ceremonies, wakes, reflection, sitting, singing, watching, listening, and speaking. Activities: This processional path guides the mourner from the entrance to the major functions of the building, culminating in either the crematory on the upper level or the vigil on the lower level. The path is intended to be methodical, contemplative on the journey forward as well as function as informal gathering before a ceremony. Aesthetics Characteristics: This sacred place will appear visually different from the rest of the facilities to set it apart. The chapel is reflective, peaceful, solemn, hopeful, with a controlled color palette. Furniture, Fixtures, Equipment: stackable chairs, pulpit, catafalque, urn stand, wreath stand and hooks. Illumination and View: Daylight is desired to be particularly controlled in order to provide maximum sacred impact. In this chapel the rhythm of the building becomes distorted, encasing it into a curved form, which is broken by a hidden light source pouring daylight into the central space illuminating the catafalque and pulpit. Fixed wall sconces are rhythmically placed on the protruding columns. Ceiling mounted fixtures are sporadically placed for added illumination. Polished metal discs placed on the ceiling catch the light and add sparkle to the chapel. Health, Safety, and Security: requiring locking hardware. This chapel is semi-private, Acoustics: This chapel is to remain undisturbed from outside noise due to the sacred nature of the facility. High acoustic treatment is required in both ceiling and wall paneling. Finishes Requirements: As a sacred space, this chapel requires high end materials. The front altar wall requires a material marking it as a sacred zone. A high amount of wood is desired in the chapel to reference nature. The surfaces that come into contact with people - benches, catafalque, pulpit - require a material that will show legacy and human trace through scratches, patina, and chipping. Aesthetics Characteristics: As the guiding and methodical path, this space is intended to be solemn, but anticipating, using daylight in the form of skylights as a beacon. Furniture, Fixtures, Equipment: benches, signage, wreath hooks. Illumination and View: In comparison to the light filled entrance, the processional has no side daylighting, but instead top lighting placed over etched quotes in the travertine in each chamber. Each threshold of the processional is flagged with wall sconces, reflecting upward to the metallic details of the ceiling pointing the way towards the crematory. Health, Safety, and Security: Floor material requires a high coefficient of friction, adequate lighting, and navigational signage. Acoustics: This processional is the threshold before the poignant spaces in the facility and therefore must attempt to have acoustical considerations through thickened walls. Finishes Requirements: The processional requires enduring materials, those that are unaffected by time, such as marble and travertine. The uniformity of the space is meant to show little hierarchy to one area unless it is marking a sacred zone in a different material. The flooring requires ample slip resistance and durability. 65
small chapel  processional  Square Footage  900  Square Footage  3,500  Occupancy  49  Occupancy  150  Adjacencies  Proces...
final long program informal room (2) family room (2) Square Footage: 800-1000 Square Footage: 400 Occupancy: 30 Occupancy: 20 Adjacencies: Chapels, Processional Adjacencies: Chapels, Processional, Away from entrances Activities: The informal rooms are provided for gatherings that occur before or after a ceremony. The lower level also is used for guests waiting for an arranging appointment or urn presentation and is therefore larger to accommodate more guests. Activities: This room is a quiet respite for next of kin to use before and after a funeral, when then need privacy and peace from the events. Staff will greet family at the entrance prior to the funeral and usher them to this room. Family will then be ushered to the ceremony and to their seats at the start of the ceremony. There is also a second version of this room on the ground floor available during overflow as well as those needing to collect themselves in private. Aesthetics Characteristics: Both of these spaces allow for seating and a small cabinet for light fare. Views outside to nature are the highlight. These rooms are intended to be comfortable and informal in use, and also a place for children to feel more at ease. Furniture, Fixtures, Equipment: The upper level room has a handful of upholstered benches, drinking fountain, and casework. The lower level room mimics this but with upholstered chairs. Illumination and View: As the highlight of the space, both of these rooms face the internal courtyard with ample windows and views of nature as a comforting and orienting method. Health, Safety, and Security: This spaces require no doors to access it, as monitoring is required. The lower level has a door with access to the interior courtyard where a few benches are located outside for a quiet retreat. Acoustics: As this space is an overflow from the more formal spaces, the reception rooms do not require ample amounts of acoustical interventions, though this will be applied to the wall paneling to minimize the noise traveling to the adjacent sacred spaces. Finishes Requirements: To distinguish these rooms from the processional path, they will require different materials, including more comforting legacy materials such as woods and very lush upholstery. The upholstery must have high wearability and feel luxurious to the touch. The views of the greenscape must also be clear and radiant. Aesthetics Characteristics: These rooms are intended to be comforting, soft, and informal. The use of soft materials and views outside are used to gain comfort to the guest. Furniture, Fixtures, Equipment: Upholstered chairs and sofa, table, counter cabinet. Illumination and View: As a method of comfort, these rooms feature a rhythm of glazing looking outward to a private courtyard of lush greenery. Health, Safety, and Security: For those requiring mourning with more privacy, these rooms allow the grieving to spend time in undisturbed peace. Acoustics: Thickened walls and acoustical panels will prevent noise transfer from one room to the next. Finishes Requirements: These rooms require finishes that are universally comforting through the use of upholstery that has high wearability and is lush. Additionally wood walls and furniture will accompany this.
final long program  informal room  2   family room  2   Square Footage  800-1000  Square Footage  400  Occupancy  30  Occu...
urn presentation vigil Square Footage: 400 Square Footage: 144 Occupancy: 49 Occupancy: 5 Adjacencies: Processional, Vigil Adjacencies: Lower Processional Activities: This room allows next of kin to receive the ashes of their loved one after cremation. The urn presentation room is a small sacred room for next of kin to have a quiet moment after this transition. Staff will place the urn on the pedestal before ushering the family to the room. This room could also be used for very small and extremely private funerals, wakes, and death anniversary memorials. Activities: As a place of ritual, the vigil room allows the visitor to light a candle in honor of their departed loved one. As a ritual experience between events, before a ceremony, or a upon departing the facility, this room allows the mourner to contribute to the wall of light or admire it as the apex view of the lower processional. Aesthetics Characteristics: As a place of reflection and honor, the character of this space highlights daylight, the natural world, and a mix of legacy and enduring materials. Furniture, Fixtures, Equipment: Urn pedestal, benches. Illumination and View: As a poignant sacred space in the facility, the daylighting intervention must be powerful in this room, hearkening death back to something greater; the light. A pop out window interrupts the rhythm of wood paneling along the wall, causing a disruption of light and views overlooking a water feature and nature. This light then shines forward onto the urn pedestal, highlighting the object next of kin are reunited with. Health, Safety, and Security: Required door. Locking hardware not required. Acoustics: This scared space requires acoustical privacy from adjacent rooms. Finishes Requirements: This sacred place requires a refined and high end material palette and a means to show respect to the departed. The apex will requires a marking in the sacred material, which can also reflect the daylight. The benches and pedestal of wood are chosen to provide human trace and legacy to the act of the next of kin receiving the deceased in their final state. Aesthetics Characteristics: This room is open from three sides, making its visibly high. This room will mimic the processional in appearance, with carved out niches to hold candles. Furniture, Fixtures, Equipment: candles, matches, feature lighting. Illumination and View: This rooms requires lower illumination levels and no daylight to allow the burning candles to be highly visible throughout various times of day. Health, Safety, and Security: Candles must be placed in high candle holders and only burn for a few hours before self extinguishing. A built in fire extinguisher must be placed in visible proximity to this room along with sprinklers as per the rest of the facility. Acoustics: This room is open to the rest of the processional, giving it little need for acoustical privacy. Finishes Requirements: In finish, this room should act as a visible extension to the processional in use of enduring materials such as marble and travertine. A low coefficient of friction is required for the floor. Low placed niches are also desired for ADA accessible heights. 67
urn presentation  vigil  Square Footage  400  Square Footage  144  Occupancy  49  Occupancy  5  Adjacencies  Processional,...
final long program coat room lower level entrance Square Footage: 64 Square Footage: 416 Occupancy: NA Occupancy: 30 Adjacencies: Upper Level Entrance, Restrooms Adjacencies: Informal Room, Lower Processional Activities: The coat room holds personal belongings of the mourners while they are in various ceremonies. Due to the Springfield rainy climate, a place to store wet coats allows water to stay off of the floor and seats. Activities: The lower level entrance greets visitors at a reception desk and either directs them to a scheduled ceremony or to the informal room to wait for an arrangement meeting. Aesthetics Characteristics: The coat room is an extension of the processional in quality and character. Furniture, Fixtures, Equipment: coat hangers, closet rod, umbrella stand. Illumination and View: Ambient and utilitarian lighting are required for this room to provide strong relational in the daylighting of the adjacent processional. Health, Safety, and Security: Visibility from the upper level entrance is required. Acoustics: This room does not require acoustical separation or privacy since it does not contain occupants. Finishes Requirements: The coat room is an extension of the processional in quality and character. Aesthetics Characteristics: The lower level entrance is the first impression into the lower part of the facility, marking the entrance into the lower processional through the use of enduring materials. Furniture, Fixtures, Equipment: Reception desk at ADA heights, task chair, signage. Illumination and View: This lower level arrangement entrance features views of the oak groves with daylight from two sides. Health, Safety, and Security: For security, views of parking lot are required for this entrance. Locking door hardware and camera security is also required. Acoustics: The acoustics of this space are not as pertinent as other rooms of the facility. Finishes Requirements: This room is meant to be an extension of the processional in appearance and finishes. A low coefficient of friction is required on the flooring.
final long program  coat room  lower level entrance  Square Footage  64  Square Footage  416  Occupancy  NA  Occupancy  30...
arrangement room office Square Footage: 480 Square Footage: 520 Occupancy: 20 Occupancy: 12 Adjacencies: Informal Room, Lower Processional Adjacencies: Arrangement Rooms, Informal Room, Lower Processional Activities: This room is designated for next of kin to arrange ceremony and/or cremation services with a staff member. This could include deciding on the type of ceremony and ceremony space as well as selecting an urn. The room is exclusively used for these meetings and not an office. Activities: The day to day operations occurs in this office for staff members, including coordinating pick up of the deceased and flowers, confirming urn pick up, and other event coordination. Aesthetics Characteristics: The room is meant to be transparent, but private, with soft upholstery and views of nature. This space is to be as comfortable as possible for a meeting. Aesthetics Characteristics: This rooms is similar in character to the reception and the arrangement room with use of woods and a rhythm of window. Furniture, Fixtures, Equipment: upholstered chairs, coffee table. Table, guest chairs, Furniture, Fixtures, Equipment: Desks, task chairs, shelves, file cabinets, guest chairs, task lamps. Illumination and View: As a means of comforting the grieving, this space utilizes ample daylighting and poignant views of nature. Mimicking the sacred spaces in the facility, this room also features a pop out window placed immediately below a pool of water. Illumination and View: This room repeats the rhythm of windows used elsewhere in the facility providing ample daylighting into this work zone. Health, Safety, and Security: The adjacent office allows staff to easily access the arrangement room when they meet with guests. Acoustics: As this room is particularly stressful part of the facility, this room requires ample acoustical privacy from the neighboring office and processional. Health, Safety, and Security: As the office is private and does not require guest entry, doors will require locking hardware. Acoustics: Acoustical privacy is required in the adjacent rooms, allowing this room to need to acoustical separation. Finishes Requirements: The office requires ergonomic work chairs for the employees. Finishes Requirements: Mimicking the sacred spaces in the facility, this room utilizes wood as well and lush upholstery. 69
arrangement room  office  Square Footage  480  Square Footage  520  Occupancy  20  Occupancy  12  Adjacencies  Informal Ro...
final long program withdrawing room restrooms (m/w/staff) Square Footage: 650 Square Footage: 570 Occupancy: 30 Occupancy: 4 units of 3 stalls each, 1 staff water closet. Adjacencies: Away from the entrance and main facility functions. Adjacencies: Processionals, vertical circulation, away from sacred spaces Activities: This room is an out of the way open living room with cozy seating in an informal setting. To accommodate the grieving who prefer to sit away from main crowd of gathering, but may not be next of kin to be allowed access to the family room, this open room allows a place of respite and overflow. Activities: Rest Aesthetics Characteristics: This room is an extension of the processional and requires high end, timeless, and durable materials. Furniture, Fixtures, Equipment: comfy chairs and sofas in lush upholsteries. Illumination and View: Limited daylight allows this room to appear visibly different than the other informal sitting areas. Health, Safety, and Security: This room does not have doors and therefore remains visible to the rest of the facility. Acoustics: As this room is tucked away from the heart of the facility, acoustical separation and privacy are not a high concern. Finishes Requirements: Like the rest of the processional, high end materials are required for this space along with a high rub count on the upholstery. Aesthetics Characteristics: high end finishes, efficient. Furniture, Fixtures, Equipment: Water closets, sinks, towel dispensers, mirrors, grab bars, bathroom stalls, etc. Illumination and View: As a juxtaposition to the day lit processionals, the restrooms do not require daylight and rely on electric lighting. Health, Safety, and Security: ADA compliant fixtures, slip resistance flooring. Acoustics: The bathrooms are to be located away from the sacred zones so the noise of flushing water closets is not a concern. Finishes Requirements: High end finishes reflecting the spirit of the facility are required.
final long program  withdrawing room  restrooms  m w staff   Square Footage  650  Square Footage  570  Occupancy  30  Occu...
antechamber crematory Square Footage: 646 Square Footage: 1800 Occupancy: 50 Occupancy: 50 Adjacencies: Crematory, Processional Adjacencies: Antechamber, control room Activities: : As the apex of the processional, the antechamber is a light-filled threshold before the crematory. This room allows next of kin a calming moment on the other side of the doors before confronting cremation. Activities: The crematory is both a place of industrial process and ceremony. The deceased are either brought to the crematory by elevator or through the processional hall. They are carefully loaded into the retort through conveyor. Depending on the involvement of the next of kin, there may be a final send off ceremony to begin the cremation process. After the process has begun, next of kin will depart. Crematory operators then monitor and complete the process. Aesthetics Characteristics: As a bridge between cremation and processional, this room seeks to mimic the finishes of the Upper Level Entrance, but brighter and more monumental. Furniture, Fixtures, Equipment: Benches. Illumination and View: This room features a rhythm of windows at monumental heights, allowing the juxtaposition between the processional and this room to be in stark contrast and surprising light as the mourners draws closer to the crematory. Health, Safety, and Security: Flooring will require slip resistance. The door to this room requires soft automatic close hinges and is locked unless a final send off cremation ritual is scheduled. Acoustics: The wall and heavy door separation will contribute to sound travel. Finishes Requirements: Slip resistant flooring as well as high end durable materials are required as an extension of the processional. Aesthetics Characteristics: As the final chamber of the processional, the crematory is treated with a shock of light and reflection. Though industrial in process, this room requires ample daylighting and durable but high end materiality, mimicking some of the qualities in the rest of the facility. Furniture, Fixtures, Equipment: crematory retorts, conveyors, rakes, cremulators, trays, casework, utility sink. Illumination and View: The crematory is bathed in a shocking rhythm of daylight flooding the chamber. The retorts are wrapped in a brass screen, reflecting overhead from the daylight. Starry lights twinkle above. Exterior fins are required on the eastern facing windows. Health, Safety, and Security: Due to the industrial process, this room requires two exit doors, extensive ventilation, and an emergency shutoff station. Acoustics: The acoustics for this room are of high priority due to the industrial nature of the cremation process. The retorts have sound dampening mechanical trunks. Further wall acoustical panels on the west wall area also required. Finishes Requirements: Slip resistant flooring as well as high end durable materials are required. 71
antechamber  crematory  Square Footage  646  Square Footage  1800  Occupancy  50  Occupancy  50  Adjacencies  Crematory, P...
final long program control room receiving hall Square Footage: 224 Square Footage: 1600 Occupancy: 12 Occupancy: 20 Adjacencies: Antechamber, Crematory Adjacencies: Preparation Room Activities: The control room faces the openings of the crematory retorts, allowing operators to monitor the cremation process. Activities: The receiving hall is the first point of entry for staff who have collected the departed for cremation or ceremony. The departed are unloaded from vehicle transport and brought into the facility to be checked in. Directly following, the departed are moved to the coolers until ceremony or cremation. Additionally, flowers that are delivered to the facility are kept here prior to ceremony. Aesthetics Characteristics: The control room is a utilitarian space, with interior windows that face the antechamber and crematory. Furniture, Fixtures, Equipment: Task chairs, desk, mechanical equipment, AV equipment, viewing window, countertop. Illumination and View: No daylight is placed in this room due to the focused nature of the function. The interior window in the space catches light from the antechamber it looks out towards. Health, Safety, and Security: Due to precautionary measures, an emergency shutoff station for the retorts is required in this room. Acoustics: The acoustics in this room are low priority due to the size and function of the room. Finishes Requirements: A slip resistant floor is required along with ergonomic task chairs for long durations of sitting. Aesthetics Characteristics: This space is clean, airy, open, and utilitarian, yet not to feel as though downgraded from the rest of the facility. Furniture, Fixtures, Equipment: wide swing doors, coolers, gurney Illumination & Views: The exterior glass doors allow light to assist in illuminating the space. This also allows the back of house to have transparency and dignity. Health, Safety, and Security: Locking door hardware Acoustics: The acoustics in this room are low priority due to the privacy of this room from the public side of the facility. Finishes Requirements: Slip resistant flooring, easy to clean hygienic surfaces.
final long program  control room  receiving hall  Square Footage  224  Square Footage  1600  Occupancy  12  Occupancy  20 ...
preparation room break room Square Footage: 280 Square Footage: 240 Occupancy: 12 Occupancy: 12 Adjacencies: Receiving Hall, Elevator to Crematory Adjacencies: Restroom, Exterior Entrance Activities: The preparation room serves as a medical lab to prepare the departed for either viewing or cremation. The body may be washed and dressed as well as small procedures to keep the eyes and mouth closed. In certain instances, pacemakers will need to be removed prior to cremation. Activities: The break room is a location for staff to have their appointed breaks and also another point of entrance into the facility for staff. Aesthetics Characteristics: Due to its function, this room requires medical supplies and subsequent characteristics for hygienic purposes. Aesthetics Characteristics: The break room utilizes wood and utilitarian finishes similar to the office and entrances. Furniture, Fixtures, Equipment: Dining chairs, tables, fridge, oven, microwave, sink. Furniture, Fixtures, Equipment: Stainless steel table, sink, casework, storage. Illumination and View: Windows from two sides allows views outward to the trees and the grounds. Illumination and View: Daylight is positioned high on the wall to allow light, but provide privacy for the departed. Health, Safety, and Security: A locking exterior door is required for this space. Health, Safety, and Security: Anti-microbial surfaces, such as stainless steel are recommended. Proper medical disposal bins are necessary. Ample sink space is also required. A double door is required to allow ease of using a gurney into the room. Acoustics: The acoustics for this space are low priority due to the protected nature of this room from the public part of the facility. Acoustics: The acoustics for this space are low priority due to the protected nature of this room from the public part of the facility as well as the function. Finishes Requirements: Slip resistance flooring, durable surfaces. Finishes Requirements: Slip resistant floors, hygienic surfaces, durable easy to clean floors. 73
preparation room  break room  Square Footage  280   Square Footage  240  Occupancy  12  Occupancy  12  Adjacencies  Receiv...
final long program mechanical room ventilation shaft Square Footage: 416 Square Footage: 320 Occupancy: NA Occupancy: NA Adjacencies: Crematory, Coolers Adjacencies: Crematory, Mechanical Room Activities: The mechanical room not only houses the equipment for the HVAC of the facility, but it also stores the required duct work for the crematory retorts located directly above this room. Activities: The ventilation shaft releases the exhaust from the crematory retorts. The existing structure of the shaft was once used as large dumbwaiter and now provides the height requirement used for the crematory exhaust equipment. Aesthetics Characteristics: utilitarian Aesthetics Characteristics: utilitarian Furniture, Fixtures, Equipment: Mech/HVAC particular to crematory, coolers, and forced air. Furniture, Fixtures, Equipment: Mech/HVAC particular to crematory, coolers, and forced air. Illumination and View: electric Illumination and View: electric Health, Safety, and Security: door with locking hardware Health, Safety, and Security: door with locking hardware Acoustics: Noise dampening duct work suggested Acoustics: Noise dampening duct work suggested Finishes Requirements: low end Finishes Requirements: low end
final long program  mechanical room  ventilation shaft  Square Footage  416  Square Footage  320  Occupancy  NA  Occupancy...
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program hierarchy diagram PROGRAM Ceremony Vestibules, Reflection, Circulation 40% 20% 10% Arrangements 20% 10% Operations Lisa Hartanov Comprehensive Project 2016 Crematory OAK GROVE CREMATORIUM
program hierarchy diagram  PROGRAM Ceremony  Vestibules, Reflection, Circulation  40   20  10  Arrangements  20  10  Opera...
adjacency diagram Next to Near Away From Not necesasary 77
adjacency diagram  Next to Near Away From Not necesasary  77
user scenarios Mourner: Widower, 68 Fictional Staff: Female, 40 Fictional It was a day we never truly planned for, but it came anyway. I was never alone that day, but how could I not feel irrevocably unaccompanied? After forty-two years together, not having her by my side was wretchedly cruel and disorienting. We arrived well before the service and were met at the door by staff. I remember seeing peonies there, her favorite, but it was barely a moment before they ushered us in and led us through the building. It was solemn, quiet, formal, but I finally felt like I was somewhere that was acknowledging what I was going through. The world hadn’t stopped for everyone else, like it had for me. This place knew that. It stopped for me. Could I handle it? We were led to a private room, “just for family” they said. Since Tuesday, people were always around me - patting my back, holding my hand, asking if I need anything. I don’t even know what I need. There were so many questions to be answered and preparations to be had. I wanted to ask them for everything to go back to how it was before Tuesday, before she was gone. Today was another busy day. There are 3 services planned and two unclaimed transitions. Transition is what we called the cremation process. Each of the departed that enters our facility has a small service, even if no one claims them. To me, it’s sad if no one claims them, if they’ve outlived everyone they knew, but that doesn’t mean they can’t be honored in death. We’ll follow the transition procedure just like we do for regular funerals - the body is cremated and then their urn is placed on display afterwards in the presentation room for 30 minutes even if no one comes. It’s our way of giving everyone dignity that transitions in our facility. The woman came back for us and led us down the hall. We entered a space that brought me back out of my haze. Something was coming, I realized while walking through the double doors. There she was, or at least what she left behind, the wooden box lying on the platform surrounded by our friends and family. The intensity of the sunlight was bearing down on her, or was it on me? I sat because everyone else sat. I listened. They sang, and then I sang with them. My heart cried out. It was becoming real. This was all for her, but it was really for me, us: the ones she left behind. The peonies were in there too - beautiful, intricately delicate. Then there was polite conversation and embraces, and I did try to smile. Some of those faces had traveled so far, how could I not respond with joy and surprise? We left the bright space and went back to the small room. It was silent, cold, real. I was anxious. What now? The woman came for us again and told us it was time. Our small group proceeded along. She told us to follow the path, and left us. I wasn’t sure where we were going, but I felt myself getting lost in the memory of her. Something was coming ahead, it was partially obstructed, but I could see the glistening light ahead. Around the corner I was met was a sudden array of light from floor to ceiling causing me to look up, almost squint, and then back down to see what was there. Pierced by the daylight was this platform and the urn she had jokingly picked out a few years ago when we forced ourselves to talk about all that. There it was, like a joke, our inside joke, like a message from her. It was final. She had moved on. I had her here, but it was just a container. In that moment, she was gone from me, and I understood. In addition to those transitions, I have three services to coordinate today. The protocol is simple, we don’t allow services to occur at the same time, and the living enter from a difference part of the building than the departed. I make sure the flowers are delivered and set up for the right service. I coordinate the arrival of the departed around the back of the facility and make sure they are cared for properly until their service. I note if the body, casket, or urn is to be displayed during the service. Today the Martin family has the first service in the chapel. The peonies have already arrived and are in place at the front door and inside the chapel. The Martin family arrives late, but still well before the service. I greet all of the families of the departed before the services and bring them to the family room, where they can wait in privacy. Once the guests have arrived and are seated in the chapel, I come back for the family. I usher them through the sanctuary doors and to their seats at the front. It’s usually upon entering the room that the whole event becomes real for them. The service begins and ends. Each one is a little different. Some want to just share stories and some want a religious service. It’s up to the final wishes, really. Sometimes, no one says anything at all. After the service I lead the family back to their room. Then I’ll head to the control room and notify them we are ready to perform the transition. The casket is then cremated, and the urn is assembled. I bring the urn to the presentation room and place it on the display pedestal. Then I collect the family, and bring them partway to the receiving room, allowing them to collectively make the final part of the journey in private. They receive their loved one after the transition, and then I bring them back to the entrance when they are ready, making sure they’ve collected all their personal belongings.
user scenarios  Mourner  Widower, 68 Fictional  Staff  Female, 40 Fictional  It was a day we never truly planned for, but ...
Undertaker: Male, 50 Fictional Attendee: Female, 25 Fictional My role requires a lot of driving. When we are asked to care for the departed, it involves coordination with the hospital and family, followed by a lot of driving around town to carry out the wishes of the family of the deceased. Today I am bringing the deceased from the hospital to Oak Grove. Her memorial service is being held today, so we will transport her to the facility in the morning and coordinate with the staff there. The facility requires a particular drop off point that is separate from the main entrance, but there is always a spot to do so. The building is prominent and bright. As we approach the building, we navigate to the service entrance. I call the office, and someone greets us at the side door. We prop the doors open and carefully bring the departed inside to their cold storage area. Once the deceased is comfortable, we communicate the next steps to the staff. Documents are signed and we chat it up with Wendy, the gal that runs the place. Even the back of house feels classy, like it’s for the general public, like eyes are watching or something. We head back out to the service entrance and check out the schedule. After this we’ll head back to the hospital and take on our next client. After knowing her my whole life, I thought it would be important to attend her memorial service. I mean, I didn’t shed any tears over her death, but I was still sad about it. It was unexpected, but she was my mom’s friend and our neighbor growing up. My mom asked me to be there since she couldn’t travel in such short notice. I communicated with work that I would be taking a halfday, and took my time getting there. During my drive there, I was trying to think about her, almost out of guilt, but it was so distracting with all the city noises and people and the rain, of course the rain. I saw the site up ahead and powered through; taking deeper breaths the closer I came to the entrance. Through the double doors, I walked into a foyer that was strangely quiet compared to the outside world. The room opened up into silence except for a few hushed voices. It was calm and stately, and it finally felt like I could prepare for what I was supposed to be there for. I moved inward to find peonies, which I remember she had in her yard while I was growing up. The other attendees had started taking their seats, so I walked into the chapel, suddenly overcome with what was about to happen. The bustling activity of the outside world and what I was trying to decide to eat for lunch that day suddenly seemed silly and inconsequential. Here inside seated among her acquaintances, friends, and family, her death became so much more real and significant. She was no longer with us. People, her husband, for one, were overcome with grief. With the sun pouring through and her casket in front, it all just felt so real. How did I fit in all this? How would I handle my own mother’s death? Life seemed so short and precious and confusing all in that moment. I was glad to be among others, going through this together. 79
Undertaker  Male, 50 Fictional  Attendee  Female, 25 Fictional  My role requires a lot of driving. When we are asked to ca...
site selection 305 S. 4th street springfield, oregon Just a turn off of main street, the Timber Products Company main headquarters is the axial summit at a dead end road. Surrounded by established oak groves and a gate, the building sits privately and quietly on the edge of a hill, with a neighboring cemetery park and adjacent residences. The location of the cemetery provides an appropriate tone for the nature of the project. Burrowed into the hillside, the dynamic topography of the site allows for points of access at multiple levels, which is advantageous for separating the levels by function. Currently the northwest entry acts as the main entrance, and the south and east entrances are designated for staff. Multiple access points were priorities for this project to allow the living and departed to entry the building separately. The building was originally constructed as an office for a different timber products company in 1950 before it was purchased by the current owner. With 3 separate additions over the years, and little logic between them, the existing building has mainly expanded on a four foot grid. The structural system also changes for each addition using light wood framing, which is advantageous to allow maximum intervention in this project. The entrance currently expresses an office park semiotics of medium road quality. The existing layout features long linear and compartmentalized spaces through the main building and two wings. At the far east of the building, a three story board formed concrete dumbwaiter of substantial size has been repurposed into rooms, but offers an ample location and material selection for the ventilation requirements for this project.
site selection  305 S. 4th street springfield, oregon Just a turn off of main street, the Timber Products Company main hea...
site entrance 81
site entrance  81
O A K G R O V E 305 S. 4TH STREET SPRINGFIELD, OREGON C R E M A T O R I U M existing conditions VIEW FROM STREET CEMETERY building information Hidden on the Hill parcel size: 1.41 acres location: .5 miles from downtown Springfield existing PARCEL SIZE:owner: Timber Products Company LOCATION: gross square footage: 20,961 sf EXISTING OWNER: ground floor area: 9,476 sf GROSS SQUARE FOOTAGE: GROUND FLOOR AREA: no. of floors: 3 No. OF FLOORS: third floor: 1,253 sf THIRD FLOOR SQUARE FOOTAGE: SECOND SQUARE FOOTAGE: secondFLOOR floor: 10,232 sf FIRST FLOOR SQUARE FOOTAGE: first floor: 9,476 sf Just a turn off of main street, the Timber Products Company main headquarters is the axial summit at a dead end road. Surrounded by established oak trees and a gate, the building sits privately and quietly on the edge of a hill, with a neighboring cemetery park and adjacent residences. Burrowed into the hillside, the dynamic topography of the site allows for points of access at multiple levels. 1.41 acres 1/2 mile from downtown Springfield Timber Product Company, main office 20,961 sf 9,476 sf 3 1,253 sf 10,232 sf CEMETERY 9,476 sf S. C Street S. 4th Street SITE PLAN N 1/32” = 1’ Summer Solstice 9 AM 0’ 8’ 16’ summer solstice 9 am SUMMER SOLSTICE 9 AM SummerSolstice Solstice99AM AM Summer Summer Stolstice 3 PM CEMETERY Summer Solstice 9 AM Summer Solstice 9 AM Winter Solstice 10 AM Winter Solstice 10 AM Winter Solstice 10 AM ADJACENT FACILITIES Fall Equinox 4 pm FallFall Equinox 4 pm Equinox 4 pm Summer Solstice 9 AM Summer Solstice 9 AM Winter Solstice 10 AM Fall Equinox 4 pm FallFall Equinox 4 pm Equinox 4 pm summer solstice 3 pm winter solstice 9 am Summer Stolstice 3 PM Summer Stolstice 3 PM WINTER SOLSTICE 9 AM Winter Solstice Solstice 10 10 AM AM Winter Winter Solstice 3 PM Summer Stolstice 3 PM Summer Stolstice 3 PM Winter Solstice Solstice 10 10 AM AM Winter Winter Solstice 3 PM SUMMER SOLSTICE 3 PM Existing Conditions SummerSolstice Solstice99AM AM Summer Summer Stolstice 3 PM UNDERTAKER CEMETERY 32’ Summer Solstice 9 AM FUNERAL HOME FUNERAL HOME Winter Solstice 10 AM Winter Solstice 10 AM winter solstice 3 pm spring equinox 3 pm Winter Solstice 3 PM Winter Solstice 3 PM SPRING EQUINOX 3 PM Fall Equinox Equinox 44 pm pm Spring Equinox 9 AM Spring Equinox 9 AM Spring Equinox 9 AM Winter Solstice 3 PM Winter Solstice 3 PM Fall Equinox Equinox 44 pm pm Spring Equinox 9 AM Spring Equinox 9 AM Spring Equinox 9 AM WINTER SOLSTICE 3 PM LISA HARTANOV + COMPREHENSIVE PROJECT 2016
O A K  G R O V E  305 S. 4TH STREET SPRINGFIELD, OREGON  C R E M A T O R I U M existing conditions  VIEW FROM STREET  CEME...
O A K G R O V E C R E M A T O R I U M THIRD FLOOR 1/16” = 1’ 0’ 8’ 16’ 305 S. 4TH STREET SPRINGFIELD, OREGON N 32’ E N S W Structural Organization & History 1950 - FIRST, SECOND, THIRD FLOOR: SECOND FLOOR 1/16” = 1’ 0’ 8’ FOUNDATION: Slab on grade COLUMNS: 4x6 timber posts @ 12’ O.C. BEAMS: W10x26 I-beams with 2x6 cap JOISTS: 4x12 @ 4’ O.C., 4x6 in hallways @ 4’ O.C. DECKING: 2x6 wood decking VAULT: Board formed reinforced concrete N 16’ 32’ 1987 ADDITION - FIRST FLOOR: FOUNDATION: Concrete footings COLUMNS: 3x3 steel posts @ 16’ O.C. BEAMS: W10x26 I-beams with 2x6 cap running JOISTS: 5x12 glulam beams @ 4’ O.C., 4x6 in hallways @ 4’ O.C. DECKING: 2x6 wood decking 16' - 0" 93' - 0" 12' - 0" 1989 ADDITION - SECOND FLOOR: FOUNDATION: Existing first floor COLUMNS: 3x3 steel posts @ 16’ O.C. BEAMS: 6.75x12 glulam beams JOISTS: 14” d TJI @ 16” O.C. north, 4x12 @ 4’ O.C. south. DECKING: 2x6 wood decking 1994 ADDITION - FIRST, SECOND FLOOR: FOUNDATION: Concrete footings COLUMNS: 3x3 steel posts @ 16’ O.C. or 12’ O.C., location dependent. BEAMS: mimics established structure, location dependent. JOISTS: mimics established structure, location dependent. DECKING: 2x6 wood decking 156' - 0" FIRST FLOOR 1/16” = 1’ 0’ WEST FACADE 8’ 16’ N 32’ west facade NORTHWEST ENTRANCE lower entry Existing Conditions NORTH FACADE north facade SOUTHWEST ENTRANCE upper entry southeast SOUTHEAST ENTRANCE LISA HARTANOV + COMPREHENSIVE PROJECT 2016 83
O A K  G R O V E  C R E M A T O R I U M  THIRD FLOOR 1 16      1    0     8     16     305 S. 4TH STREET SPRINGFIELD, OREG...
O A K G R O V E C R E M A T O R I U M 305 S. 4TH STREET SPRINGFIELD, OREGON existing conditions WEST ELEVATION 1/16” = 1’ 0’ ST ELEVATION (ENTRY) 0' 8' 16' 6" = 1'-0" 8’ NORTH ELEVATION 1/16” = 1’ 16’ 32’ 1 32' North Elevation 1/16" = 1'-0" 0’ 0' 8' 16' EAST ELEVATION 1/16” = 1’ 0’ EAST ELEVATION 0' 1/16" = 1'-0" 8' 16' 16’ 32’ SOUTH ELEVATION 1/16” = 1’ 16’ 32’ 0’ 8’ 16’ 32’ 32' South Elevation 1/16" = 1'-0" 0' 8' 16' 32' 32' - 6" I2' - 2" I0' - 0" 1 I0' - 2" 1 8’ 8’ 32' TRANSVERSE SECTION 1/16” = 1’ 0’ 1 Transverse Section 0' 1/16" = 1'-0" 8' 8’ 16' 16’ LONGITUDINAL SECTION 1/16” = 1’ 32’ 0’ lower level lobby LOBBY 8’ 16’ 32’ 32' FIRST FLOOR Existing Conditions upper level SECOND FLOOR south elevation SOUTH ELEVATION west entry ENTRY AT WEST ELEVATION LISA HARTANOV + COMPREHENSIVE PROJECT 2016
O A K  G R O V E  C R E M A T O R I U M  305 S. 4TH STREET SPRINGFIELD, OREGON  existing conditions  WEST ELEVATION 1 16  ...
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final technical design
final technical design
code analysis building system approach ff&e specifications 87
code analysis building system approach ff e specifications  87
code analysis zoning (springfield-oregon.gov) Main Zones and Base Zones: Community Commercial (CC) Permitted Uses in the Zone(s): funeral services egress and fire rating Construction Type V-A Light wood frame Maximum Travel Distance: 200’ unsprinklered, 250’ sprinklered Machinery rooms shall be within 150 feet of an exit. Dead end corridor limits: No more than 20 feet in length.* * In occupancies in Groups B, E, F, I-1, M, R-1, R-2, R-4, S and U, where the building is equipped throughout with an automatic sprinkler system in accordance with Section 903.3.1.1, the length of the dead-end corridors shall not exceed 50 feet (15 240 mm). occupant load and construction Occupancy Classification: Assembly (A-3) - funeral ceremonies Business (B) - cremation services Factory and Industrial (F-1) - crematory Storage (S-2) - urn storage Occupant load per occupancy group: Occupant Load = floor area (SF)/ load factor Large Chapel: fixed seating, 100 maximum Small Chapel: unfixed seating, 49 maximum Urn Presentation: unfixed seating, 49 maximum Maximum Mezzanine Area: A mezzanine cannot be more than 1/3 of the area of the floor it is above. This is not applicable to this project. Ceiling Height Minimum: No less than 7’-0”. Minimum egress corridor width: 36 inches for stairs. 44 inches, unless this is superseded by the occupant load. Minimum number of exits: 2 per story More than one exit required: for more than 49 occupants in assembly states. Two exits are required for machinery rooms. Minimum width for egress doors: 32 inches unless this is superseded by the occupant load. Minimum distance allowed between two exits: 1/2 diagonal rule: one half of the longest diagonal distance within the building 1/3 diagonal rule: if there is an automatic sprinkler system. Two stairs are required. Minimum Stairwell Width: For building with an automated sprinkler system, 44 inches is the required width unless this is superseded by the occupant load. Area of Refuge: Areas of refuge are not required at stairways in buildings equipped throughout by an automatic sprinkler system. This building will have one area of refuge. Compartmentalization: A 1-hour fire-resistance rating is required for smoke barriers. (IBC 709.3) Exit access stairways: For a building with an automated sprinkler system, floor openings between stories create by exit access stairways are not required to be enclosed.
code analysis  zoning   springfield-oregon.gov  Main Zones and Base Zones  Community Commercial  CC  Permitted Uses in the...
Typical fire-resistant ratings: Enclosed stair: not less than 1 hour where connecting less than four stories. plumbing Fireproofing major beams, columns or trusses: Columns, Girders, Trusses, beams, lintels, or other structural members that are required to have a fire resistance rating shall be individually protected on all sides for the full length with materials having the required fire-resistance rating. No. of water closets: 3 male, 3 female per floor. Total 12. No. of lavatories: 3 per floor. Total 6. No. of drinking fountains: 1 per floor. Total 2. stairs / ramps / elevators accessibility Maximum rise: 7-inches maximum Maximum run: 11-inches minimum Handrail height: 34-38 inches after floor finish Handrail extension: 12 inches past ramp or final tread. Guardrail: 42” high. Nosing: The radius shall be not greater than 9/16 inch Width: 44 inches Stair landings: Required when the stair rises above 12’-0”. Width of stair determines the minimum landing dimension. Head height clearance: minimum 80” Clear floor space: 32” width and 48” depth of free space at doors/exits ADA ramp rise to run ratio: 1:12 Elevator Types: freight and passenger Elevator as a means of fire egress: No Bathroom requirements: Required clear floor space for door swings: 32 inch with the door open 90 degrees Front approaches: Pull: 18” min, 24” preferred, Push: 12” Hinge side approaches (pull side and push side dimensions): Pull: 36” with 5’ wide corridor, 42” if corridor is 54” Latch side approaches: (pull side and push side dimensions): Pulled: 24”, Push: 24” Requirements for protruding objects: Cannot protrude further than 4” into the space, unless they are mounted above 7’ high. Water fountains, fire extinguishes, ie. Bathroom clear floor space: Requirements for lavatory: 30 inches by 48 inches. Height from floor: 27” clearance below. 34” max height. 8” of knee space. Height from wall and floor: 17-19” Requirements for toilets: 18” on one side, no less than 42” on the other side. 30”x 48” of clear floor space. Requirements for urinals: Rim has a maximum height of 17” above the floor. 30”x 48” of clear floor space. 89
Typical fire-resistant ratings  Enclosed stair  not less than 1 hour where connecting less than four stories.  plumbing  F...
building system approach mechanical systems The existing conditions of the building for this adaptive reuse project orient the mechanical room on the east side of the lower level, furthest from the entry point. The current location will also be utilized for this project. heating & cooling elevator Using the existing forced air system, the ducting trunk is to travel down the central and main processional corridor of the lower level with the branches extending to the rooms north and south. A ventilation shaft is located next to the public elevator for the ducting to run to the upper level. Two new elevators have been added to the building for this project of more appropriate size and location. The public elevator has been oriented to allow a place of refuge for the main vertical circulation zone. The other elevator has been selected specifically to accommodate a gurney, as the departed will be required to be moved from one level to the next for ceremony and cremation services. The ducting will not be exposed in the facility, as a polished and refined presentation is desired for this project. crematory requirements structural strategy Due to the extensive mechanical requirements for the crematory equipment, the mechanical room has been enlarged for this project. As modeled in precedents, the retorts are located directly above the mechanical room, allowing their ventilation ducting to be hidden from view below. This system is then routed to the left of the mechanical room where a former 3 story board formed concrete dumbwaiter acts as the ventilation shaft. This is located furthest from the main entry point. With 4 independent structural systems, the existing building offers significant challenges on finding cohesion between the additions. Generally, a 4-foot grid was used as a guide between these light wood frame interventions. On the north and south facades, a rhythm of 30” windows spaced 4-feet apart acts as one of the few repeating elements on the building. Since the supportive exterior columns rest between these windows, this rhythm and proportion is used and emphasized on this adaptive reuse project. plumbing The existing conditions of the building, having gone through several expansions, place the plumbing throughout the building, requiring much flexibility to their placement for this project. The main bathrooms have been stacked in identical locations on each floor for both convenience and public wayfinding. The crematory and chapels both require double height spaces, and therefore new structural requirements will be added to these rooms, following the architectural student handbook for sizing the members based on the existing structure and the new spanning requirements. Based off of the flexibility of light wood framing, some columns have been relocated to account for a more cohesive building rhythm, with additional supports required to account for this.
building system approach mechanical systems The existing conditions of the building for this adaptive reuse project orient...
lighting design approach material and ff&e approach The nature of this project requires the lighting and ceiling design to allow functionality without extensive operational visibility. Sprinkler heads, structure, and ductwork, for example, will not be visible. It is not a priority to show how the building functions. To provide a serene and solemn facility where mourners can focus on something larger, these elements must be hidden in the ceiling without calling attention to them. Duct work will be recessed alcove the ceiling in linear diffusers. Sprinklers heads will also be recessed into the ceiling, leaving small round discs only visible. Lighting fixture selection is minimal with the exception of a feature sconce. More of the design approach to the lighting of the facility is featured in the final design presentation of the book. Oak Grove Crematorium requires minimal, but particular, furnishings. Due to the existential nature of the facility, the objects that are necessary must either make a metaphoric statement or not call attention to themselves. Many Knoll chairs and sofas have been selected due to their orderly and elegant method of blending into the background, for example. Yet, the FF&E pieces that were chosen as features must also find a delicate balance between semiotics of grief and celebration. They must not force an emotion nor act utilitarian, but set the tone of the facility as a place to acknowledge death that is respectful of the departed. acoustic strategy As the 4-foot grid of the window rhythm and structural system have been referenced in this project, many of the walls emphasize this rhythm by increasing in thickness by 6”. This increased thickness offers the opportunity to hide acoustical materials inside these new cavities to provide better sound quality, particular in the sacred rooms and reflective spaces. Additionally, many of the walls have increased in thickness between rooms, allowing more separation between rooms. With the use of many hard surfaces in the processional, such as marble and travertine, this sacred path has the capacity to bounce sound quite easily. Yet, for this application, it is not fully unwelcome. With so few visitors to be in the facility at one time, this processional will provide a lovely reverberation that engages more of the senses during this stressful journey. As a method to show care, intentionality, and honor, selection has strategized lush, real materials. Leather, mohair, wood, and brass have been particularly selected as materials that come into contact with guests on the seating and hardware. Rooms of informal and reflective function utilize seating of exuberant mohair of a comforting and rich nature. Sacred spaces substitute soft upholstery for wood, allowing the ceremonies to command upright reality, particularity since the majority of ceremonies are of short duration. These slab and block style shapes are a means to show little manipulation to the true material as well as highlight the heavy weight of grief. Wood was also selected for the pulpit, urn pedestal, and catafalque due to its ability to show human trace through scratches, scrapes, and patina. Brass hardware and signage was also selected for a similar strategy. In addition to its luster and sparkle, brass also reveals human touch and patina over time. This desire to show wear is a reminder to the grieving of the legacy of those that have gathered together before to mourn the departed and ultimately remind the living that death is a condition mourned through the ages. Additionally, the crematory retorts are supplied with built in sound dampeners in their mechanical ducts, providing quiet functionality. 91
lighting design approach  material and ff e approach  The nature of this project requires the lighting and ceiling design ...
ff&e specifications and schedules manufacturer: product name: room location: size and dimensions: finish: Pental travertine processional walls 12” x 24’’ polished aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: luxury, solemn material wall cladding longevity material highly durable, does not wear medium mortar bed per manufacturer clean with a damp cloth manufacturer: product name: room location: size and dimensions: finish: Pental Gris Pulpis Marble processional, crematory floors 2’ x 2’ tiles polished aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: code requirements: luxury, solemn material flooring longevity material highly durable, does not wear medium mortar bed per manufacturer clean with a damp mop coefficient of friction .6 or greater
ff e specifications and schedules  manufacturer  product name  room location  size and dimensions  finish   Pental travert...
manufacturer: product name: room location: size and dimensions: finish: Thompson Marble Tumbled Marble, Travertino Light antechamber, crematory walls 12” x 2’4” tiles tumbled aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: solemn material, bone-like quality wall cladding longevity material highly durable, does not wear medium mortar bed per manufacturer clean with a damp cloth when needed manufacturer: product name: room location: size and dimensions: finish: Chemetal Anodized Aluminum Bronze doors, throughout facility varies per location deep bronze #601 aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: code requirements: rich, heavy door material doors longevity material highly durable, does not wear per door specification clean with a damp cloth when needed 12” push, 18” pull clearance, ADA complaint hardware location 93
manufacturer  product name  room location  size and dimensions  finish   Thompson Marble Tumbled Marble, Travertino Light ...
ff&e specifications and schedules manufacturer: product name: room location: size and dimensions: finish: Thompson Tile tumbled marble, verde imperial chapel altar walls, urn presentation, sacred walls of processional 2’ x 4’ slabs tumbled aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: luxury, solemn material wall cladding longevity material highly durable, does not wear medium mortar bed per manufacturer clean with a damp cloth manufacturer: product name: room location: size and dimensions: finish: Green River cherry wood chapels, urn presentation, informal rooms, family rooms, arrangements, various pieces of furniture varied per application clear finish aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: warm wood tone, oxidize over time wall cladding, furniture high recyclability, regional material hardwood - durable, intended to wear hidden fasteners clean with a damp cloth
ff e specifications and schedules  manufacturer  product name  room location  size and dimensions  finish   Thompson Tile ...
manufacturer: product name: room location: size and dimensions: finish: Maharam Mohair Extreme 464820 family, informal, arrangement room varies by application 005 Kale rich, lxuiouins fabric, soothing to touch upholstery natural fibers, rapidly renewable material, environmentally improved manufacturing process, cradle to cradle certified 100,000 double rubs, color fastness durability: maintenance instructions: vacuum or brush lightly meets all appropriate flammability code requirements: requirements for seating aesthetic intention: function: sustainability aspect: manufacturer: product name: room location: size and dimensions: finish: Chemetal brass throughout facility varies per location polished aesthetic intention: function: sustainability aspect: durability: installation specific needs: maintenance instructions: eye catching metal that patinas hardware, signage, ceiling detailing high recyclability highly durable, intended to wear per application clean with a damp cloth when needed 95
manufacturer  product name  room location  size and dimensions  finish   Maharam Mohair Extreme 464820 family, informal, a...
ff&e specifications and schedules manufacturer: product name: room location: size and dimensions: finish: Knoll Divina Lounge Chair informal, withdrawing, family 37” x 35.5” x 31.25” Maharam Mohair aesthetic intention: function: sustainability aspect: durability: maintenance instructions: timeless, subtle seating for informal rooms GREENGUARD certified highly durable damp cloth, spot clean manufacturer: product name: room location: size and dimensions: finish: Carl Hansen Hans J. Wegner C20 Elbow Chair Small Chapel 28.1” x 21.3” x 17.3” oak, white oil aesthetic intention: function: sustainability aspect: durability: maintenance instructions: clean, high quality wood chair stacking wood from sustainably managed forests hardwood - highly durable follow manufacturer’s instructions
ff e specifications and schedules  manufacturer  product name  room location  size and dimensions  finish   Knoll Divina L...
manufacturer: product name: room location: size and dimensions: finish: Meyer Wells Denny Block chapels, urn presentation varies cherry, clear finish aesthetic intention: function: sustainability aspect: durability: maintenance instructions: wood slab, raw, real, benches, catafalque, pulpit salvaged wood hardwood - high clean with a damp cloth when needed manufacturer: product name: room location: size and dimensions: finish: Herman Miller Tuxedo Bench upper entrance, informal, antechamber 28” x 56” x 17” bronze base spineybeck leather cactus, non-quilted spineybeck leather forest, non-quilted aesthetic intention: function: sustainability aspect: durability: maintenance instructions: high end, simplistic informal temporary seating Lifetime product highly durable damp cloth, spot clean 97
manufacturer  product name  room location  size and dimensions  finish   Meyer Wells Denny Block chapels, urn presentation...
design process
design process
early schematic design first quarter review second quarter review third quarter review 99
early schematic design first quarter review second quarter review third quarter review  99
early schematic design sketches Initial sketches for this project began by considering how the mourners would process through the building and where the living and departed would encounter each other in the facility.
early schematic design  sketches Initial sketches for this project began by considering how the mourners would process thr...
models Three dimensional models progressed these initial sketches into how both mourners and the departed could be expressed in their encounters, as well as how the building form could communicate the function of the facility. 101
models Three dimensional models progressed these initial sketches into how both mourners and the departed could be express...
first quarter review scheme Mourner’s Path : The other side The living cross over to reunite with the dead. A linear path of thresholds brings the living intimately forward to receive the urn.
first quarter review  scheme  Mourner   s Path   The other side The living cross over to reunite with the dead. A linear p...
scheme Mourner’s Path : The living circle A large central hall brings the living back repeatedly to gather and help repair the social order. The urn is brought to the living. 103
scheme  Mourner   s Path   The living circle A large central hall brings the living back repeatedly to gather and help rep...
first quarter review scheme Mourner’s Path : The living view the living world An insular path around the chapel provides comfy seats and opportunities for reflection. Windows intentionally face nature at each seating area in order to view the living world.
first quarter review  scheme  Mourner   s Path   The living view the living world An insular path around the chapel provid...
scheme Mourner’s Path : The living shadow the dead A private hall with views allow the living to progressively follow the dead through the cremation process of symbolically walk along in the adjacent public hall. Both paths end at the urn presentation room. 105
scheme  Mourner   s Path   The living shadow the dead A private hall with views allow the living to progressively follow t...
first quarter review scheme 1 - sacred path large chapel
first quarter review  scheme 1 - sacred path      large chapel
scheme 3 - nature walk urn presentation room 107
scheme 3 - nature walk     urn presentation room  107
first quarter review
first quarter review
response The subject matter of this project requires reviewers to break through two barriers in order to provide feedback: death and cremation. Only then can they discuss the metaphorical symbolism and programmatic requirements objectively. In the development of this project I have observed that people repeatedly discuss the topic of death subjectively. They cannot remove themselves from the subject. This is further confirmation of how personal and delicate this subject matter is. The design of this hypothetical facility has come with its own set of challenges. Its’ program must meet 4 different user groups: funeral attendees, cremation clientele, the deceased, and the facility employees. Each has their unique requirements. The facility must also allow varying levels of exposure to the facility. Visitors cannot stumble upon cremation or urn presentation, for example. There has to be thresholds and build up before these poignant destinations are delicately reached. Essentially, the choreography is incredibly sensitive. In addition, due to the poetic nature of this facility, each design move has to have a larger, metaphoric meaning. I chose to focus my midterm schemes on what I was the most sensitive to: the mourner’s path through the facility. I could not look past this user group when designing. Therefore I created four schemes that offered four different experiences. At this primary review, My first reviewer enjoyed scheme 1 and 3. He suggested playing up the progression of the journey on both of these schemes. He did not feel safe in scheme 2 or 4, which was vital to hear. He recommended I change the interiors of the living and dead program so it was clear when the living had crossed zones, and to make the death zone spectacular. Unfortunately, the second set of reviewers were both visibly uncomfortable with the subject matter and could not engage with the presented schemes and instead discussed the operational nature of the facility. Despite this, I gained a larger understanding on how to address the subjects of death and cremation as well as shape my argument. I witnessed first hand that not all of my reviewers will be willing to discuss the subject matter, which was a valuable lesson. 109
response The subject matter of this project requires reviewers to break through two barriers in order to provide feedback ...
second quarter review scheme Mourner’s Path : Preparation through Progression The living progress through a series of thresholds allowing pause and preparation before each emotional step in the processional. The centrally located sacred zone is the departure point for the next of kin to proceed on. Crossing over into the realm of the departed. This journey culminates at the crematory for the final send off. Once physically transformed, the departed are reunited with the mourners back in the realm of the living in the urn presentation room.
second quarter review  scheme  Mourner   s Path   Preparation through Progression The living progress through a series of ...
scheme Mourner’s Path : Around the Sacred The living and the departed encounter one another in the central sacred zone. In the chapel, a clear division of daylight highlights the proverbial barrier between two worlds. After the ceremony the processional asks the living to cross over the threshold and usher the departed to the crematory for the final send of. Through the processional the living circumambulate around the central sacred zone, reinforcing the larger social order amongst grief. 111
scheme  Mourner   s Path   Around the Sacred The living and the departed encounter one another in the central sacred zone....
second quarter review lower level entrance upper level entrance
second quarter review  lower level entrance  upper level entrance
large chapel small chapel 113
large chapel  small chapel  113
second quarter review
second quarter review
response After synthesizing four schemes down to two, the second quarter review allowed me to focus my efforts on two distinct paths of the mourner. The first was a further exploration of scheme 1 at the first quarter reviewer, further developing a linear path forward toward the crematory. The second scheme grew out of scheme 3 from the first quarter review, emphasizing the central chapels and the path around these sacred zones. My reviewers were fully engaged for this review, and I had little need to justify the delicate nature of this project. They addressed the awkwardness of funerals, and they recommended strengthening the entry sequence to leave little doubt to the visitors on their path of travel. Overall, they emphasized that the tactile experience of how this place feels is critical for this project. The sacred spaces should provoke reactions and feelings. They suggested developing a mix of spaces: insular vs. outward, inviting vs. austere places, etc. Both reviewers stressed that I should use more wood in the project and less stone due to its’ familiar and comforting nature. They recommended making the sacred zones “temples to nature”, quite fitting to Oregon, through the use of materials and light, without being too literal. Based off of this feedback and personal reflection, I have decided to pursue Scheme 1 because its’ sacred path of the mourner is stronger than Scheme 2’s while also using half of the circulation. 115
response After synthesizing four schemes down to two, the second quarter review allowed me to focus my efforts on two dist...
deceased loved ones and participate in the end of life process to the extent that they desire. As a response to the tired funeral home architecture of the United States, which “sucks the life out of the living”, this project seeks to challenge this typology by addressing death in the architecture as a means to assist the living in the grieving process and provide a more authentic experience. third quarter review Over the last century cremation has gained in popularity for its’ hygienic methods of tending to the departed, particularly in Oregon, where the cremation rates are the second highest in the nation at 70%. Yet despite this popularity, regional crematories are often separated from sacred spaces and are too industrial to allow final farewell rituals. Therefore cremations occur at unknown times and locations, without the presence of loved ones. This project tackles how the act of cremation can be publicly addressed in both ritual and procedure, since Oregonians rely heavily on this practice for their end of life care. p a rti M o u r n er ’s Pa t h : P r e p a r a t i o n t hr o u g h P r og r es si o n The living progress through a series of thresholds allowing pause and preparation before each emotional step in the processional. The centrally located sacred zone is the departure point for the next of kin to proceed on. Crossing over into the realm of the departed, this journey culminates at the crematory for the final send off. Once physically transformed, the departed are reunited with the mourners back in the realm of the living in the urn presentation room. 1 cer emo n i es a r r a n g eme n t s horizontal organization living LIVING vertical organization d e p a r t ed 2
deceased loved ones and participate in the end of life process to the extent that they desire. As a response to the tired ...
p a rti M o u r n er ’s Pa t h : P r e p a r a t i o n t hr o u g h P r og r es si o n The living progress through a series of thresholds allowing pause and preparation before each emotional step in the processional. The centrally located sacred zone is the departure point for the next of kin to proceed on. Crossing over into the realm of the departed, this journey culminates at the crematory for the final send off. Once physically transformed, the departed are reunited with the mourners back in the realm of the living in the urn presentation room. 1 cer emo n i es a r r a n g eme n t s living horizontal organization vertical organization crematory to building processional path axis of fire axis of water d e p a r t ed LIVING threshold of crematory sacred zone diagrams 117
p a rti M o u r n er    s Pa t h   P r e p a r a t i o n t hr o u g h P r og r es si o n The living progress through a ser...
third quarter review toriu m 3 4 EVENT ST. UP 1 CONTROL LARGE CHAPEL PROCESSIONAL 2 CREMATORY section 1 1/8” = 1’ SMALL CHAPEL RECEPTION 0’ h the prospect a tradition of tunities”. 4’ 8’ 16’ 8’ 16’ 8’ 16’ VENT. UP FAMILY odbye to their s to the extent rchitecture of ”, this project e architecture rovide a more COAT RM. LOBBY ASSEMBLY STORAGE or its’ hygienic on, where the %. Yet despite d from sacred als. Therefore t the presence mation can be regonians rely lower level n 1/8” = 1’ 0’ 4’ 8’ section 2 1/8” = 1’ 16’ 0’ 4’ 3 io n ing pause and . The centrally kin to proceed ney culminates nsformed, the m of the living 4 LOBBY OFFICE BREAK ARRANGEMENT 1 PREP. section 3 1/8” = 1’ section 1 d e p a r t ed 0’ 1/8” = 1’ 0’ 2 4’ VIGIL PROCESSIONAL 8’ RECEIVING HALL 16’ ENT. COOLERS RECEPTION URN PRESENTATION VENT. FAMILY MECHANICAL 4’
third quarter review  toriu m  3  4  EVENT ST.  UP  1  CONTROL LARGE CHAPEL  PROCESSIONAL  2  CREMATORY  section 1 1 8    ...
larity for its’ hygienic n Oregon, where the n at 70%. Yet despite eparated from sacred ell rituals. Therefore without the presence of cremation can be ince Oregonians rely lower level n 1/8” = 1’ 0’ 4’ 8’ section 2 1/8” = 1’ 16’ 0’ 4’ 8’ 3 Pr og r es si o n s allowing pause and ssional. The centrally ext of kin to proceed his journey culminates cally transformed, the he realm of the living 4 OFFICE LOBBY BREAK ARRANGEMENT 1 PREP. section 3 1/8” = 1’ 0’ vi ng de par t ed VIGIL PROCESSIONAL 2 LIVING 4’ 8’ RECEIVING HALL organization COOLERS RECEPTION URN PRESENTATION nal path LOUNGE VENT. FAMILY MECHANICAL MAIN. of crematory one upper level 0’ section 1 4’ section 4 n 1/8” = 1’ 8’ 1/8” = 1’ 0’ 16’ 1/8” = 1’ 0’ 4’ 8’ 16’ 8’ 16’ NT. section 2 1/8” = 1’ 0’ 4’ 119 4’ 8’
larity for its    hygienic n Oregon, where the n at 70 . Yet despite eparated from sacred ell rituals. Therefore without t...
STORAGE EMATORY section 1 1/8” = 1’ 0’ 4’ 8’ 16’ VENT. third quarter review section 2 STORAGE 1/8” = 1’ 0’ 4’ 8’ 16’ section 2 1/8” = 1’ 0’ 4’ 8’ 16’ BREAK PREP. section 3 1/8” = 1’ 0’ 4’ 8’ 16’ EIVING HALL OOLERS BREAK ECHANICAL VENT. PREP. section 3 1/8” = 1’ 0’ 4’ 8’ 16’ RECEIVING HALL COOLERS section 4 VENT. MECHANICAL 1/8” = 1’ 0’ 4’ 8’ 16’ section 4 1/8” = 1’ 0’ 4’ 8’ 16’
STORAGE EMATORY  section 1 1 8      1    0     4     8     16     VENT.  third quarter review  section 2  STORAGE  1 8    ...
upper level entry upper level entry upper lobby upper lobby 121
upper level entry  upper level entry  upper lobby  upper lobby  121
third quarter review upper lobby upper lobby upper processional upper processional large chapel large chapel
third quarter review upper lobby upper lobby  upper processional upper processional  large chapel large chapel
large chapel large chapel small chapel small chapel urn presentation urn presentation 123
large chapel large chapel  small chapel small chapel  urn presentation urn presentation  123
third quarter review
third quarter review
response In discussion, this review was both fruitful and challenging. My reviewers responded well to the subject matter of the project through my own comfort level of speaking about it as well as how I was able to communicate my design ideas. They found the project compelling, and it was exciting to show them a more developed project for this review. This project still needs to refine the number of ideas. The thick dividing wall I put in between the facility was poorly received and ultimately went against my project investigations. Therefore, I will abandon this and focus on emphasizing the main axis of the processional and the relationship between the processional and the crematory. The feedback I received from them was again subjective. Hearing individualized desires for funerary conditions is helpful, yet challenging to fully accommodate. After the review, the advice I received was to interpret the underlying meaning behind their reactions and design for that. It was also disappointing to sell the crematory as a functional part of the building, but have no developed perspective view of it yet. Therefore, this will be a priority before the final review. Essentially, this project needs to be simplified further and emphasize how the path and the accompanying outdoor space can be visually highlighted in plan. 125
response In discussion, this review was both fruitful and challenging. My reviewers responded well to the subject matter o...
project research
project research
interviews precedent studies bibliography 127
interviews precedent studies bibliography  127
interviews clinical psychologist Eric Clinical Psychologist January 16, 2016 Goal: To learn about the psychological effects of grief and bereavement. Question 1: What are some psychological and physical affects of grief, mourning, and bereavement, and how would they affect a person’s day-to-day life? Grief is very individualized. Integrating grief into your daily life is the goal. Different types of death produce different circumstances. People’s responses to grief are unpredictable. Question 2: What are methods to comfort the grieving? The most important thing is human connection. Americans are not comfortable with people dying. Connecting with other people, talking and relating to others comforts the living. It’s about who is in the room. Sharing of stories and memories is comforting. Question 3: What accommodations would best suit those grieving? Nature tends to make people feel comfortable as compared to sterile environments. It is reminder to reconnect to something greater than themselves. All faiths have a belief in something greater than themselves. It is important that people feel more aware of something larger than themselves. Spaces need to be able to adapt to different size requirements. If a space is too big, it may not be inviting. The types of sharing that will be done at a funeral are based on the size of the space. Emotional intimacy is thwarted in a large room. Conversations that happen in a large room tend to be more surface level. If the space feels too much like a traditional church then many people may not feel comfortable.
interviews  clinical psychologist Eric Clinical Psychologist January 16, 2016 Goal  To learn about the psychological effec...
Question 4: How can funerals alleviate the grieving process? It is a very American thing to try to speed up the grieving process. Funeral services provide finality to the death. But more importantly they provide a space to connect with others. The rite helps with the denial phase of grief. Viewing the body is very important. There is finality to it. Question 5: What do the grieving desire to honor their dead? What does that look like? It depends on the culture and the individual. Usually nothing is planned ahead of time. 129
Question 4  How can funerals alleviate the grieving process  It is a very American thing to try to speed up the grieving p...
interviews mourner Kelsey Funeral Attendee January 26, 2016 Goal: To gain understanding of the experience of funeral attendees. Question 1: What type of facility was the funeral held in? i.e. funeral chapel, church, funeral home, personal residence, event center, etc. With most of her family far away and the sudden nature of the death of her father, she and her mother opted to have a remembrance ceremony in the privacy of their own home for just the two of them. They did not know of a place where they could have this sort of intimate ceremony. For the death of her grandfather, the funeral was held in a large funeral home. Question 2: What was the program of the service? in example: formal service, celebration of life, eulogy, open mic, etc. Her father’s funeral was informal and private. Her grandfather’s death ceremony was more formal and held at a funeral home immediately following the viewing. Kelsey agreed to talk to me about two particularly challenging family deaths in her recent past, her father and grandfather. This is a compilation of her experiences as thought relevant to the project. The interview has been condensed. Question 3: Describe the setting of the service as well as the tone. Her grandfather’s funeral at the funeral home was in a large space. The funeral felt low in attendance because of large the size of the room. The entire facility was oversized for the event, which felt impersonal and inappropriate during this time. Question 4: Would you have wanted to be part of the cremation ritual if it was an option? Kelsey was aware that the cremation was going to occur, but did not know the time and place. She and her mother did not necessarily want to participate in this process for either of the deaths, but was it was not offered as an option. They were completely removed from the process, and she did not know when nor where they occurred.
interviews  mourner Kelsey Funeral Attendee January 26, 2016 Goal  To gain understanding of the experience of funeral atte...
Question 5: How was your loved one’s urn presented to you? Kelsey and her mother received a phone call that their loved one’s ashes were ready to be picked up from the funeral home. She went alone to the funeral home. While another funeral was occurring, she had to navigate to the front desk. They brought her to the lower level of the facility to retrieve the urn. Kelsey was upset by this experience. She described feelings of discomfort of being there while another event was in process as well as having to go down to the basement to help the staff retrieve the urn. There were also death industry products visible, such as caskets and urns. This was very disturbing for her to see the retail side of the business during such a sensitive time. Her exchange with the funeral home was quick. She described the process of picking up her loved one’s ashes as if it were dry cleaning. It was an in-and-out experience, which felt wholeheartedly inconsiderate to her for the situation. 131
Question 5  How was your loved one   s urn presented to you  Kelsey and her mother received a phone call that their loved ...
interviews mourner Jane Mourner January 28, 2016 My conversation with Jane provided a different experience than I had prepared for. She spoke to me about losing a family member unexpectedly. Goal: To gain understanding of the experience of funeral attendees. Question 1: What type of facility was the funeral held in? i.e. funeral chapel, church, funeral home, personal residence, event center, etc. Question 3: Describe the setting of the service as well as the tone. Can you describe what you liked or disliked about the place? Out of shock and the last wishes of the departed, no funeral was held. There was no memorial, celebration of life, or other type of congregated gathering to acknowledge this loss. The family member was cremated and another relative was responsible for taking care of this. As a result, Jane spoke of her struggle to come to terms with death. She had been closely linked with this family member, but she could not speak about her grief with her family since the death has not been acknowledged. She has found that without the social response to the death that she cannot come to terms with it. She expressed concern that the social order of her family has not been repaired. Question 2: What was the program of the service? i.e. formal service, celebration of life, eulogy, open mic, etc. Her family has done little to acknowledge or address the loss in their family. The reasoning as to why was not fully clear to Jane, but it involved a combination of how her family both coped with the loss as well as some strained relationships between the departed and her immediate family. In general, Jane thought her family did not address the death well, but there was no protocol that her family thought to follow. Question 4: What did you do directly before and after the funeral while still in the building? i.e. viewing of the body, small talk in the foyer, etc. Jane wished that her family had done something to acknowledge the death. Since this has not happened, she spoke of her reluctance to address it by herself, though she was not sure what this would be. She did not know where she would go to do this or what she would do.
interviews  mourner Jane Mourner January 28, 2016  My conversation with Jane provided a different experience than I had pr...
Question 5: Was the place of memorial honoring of your loved one? Why or why not? Jane was torn between honoring her family member’s wishes of not having a funeral and having one anyways. She has not been able to deal with her grief publicly nor privately as a result. Her grief has been stunted by not having any formal acknowledgment of the death. 133
Question 5  Was the place of memorial honoring of your loved one  Why or why not  Jane was torn between honoring her famil...
interviews chaplain Michael Pastor/Chaplain January 19, 2016 Goal: To gain a better understanding of the requirements for a eulogist/pastor in a funeral chapel. Question 1: As a pastor and chaplain, I would suspect that you have attended and even led many funerals in your profession. What are some of the operational elements that make a service at a church/chapel/funeral home run smoothly? The relational aspect is the most important thing. The facility must accommodate human connection. Flexible seating is also important. If only 10 people show up, you don’t want to have seating for 120. Funerals want to feel full, to reinforce the strength in community. The departed loved one must be the focus of the space, not necessarily the officiant leading the ceremony. Community oriented positioning of the chairs. Keep lights above eye level to draw the eye upwards. Get rid of visual noise. The chapel should be simple, beautifully, and elegant. Question 2: What type of environment promotes the living honoring the departed? Or, what environments prohibit this? See Question 1. The standard funeral home of thick carpet, heavy drapes, piped in fake organ music playing old Christian hymns, with strange furniture arrangements and Kleenex boxes everywhere is terrible. The funeral home is a parlor of death, which sucks the life out of the living. Having personal items of the departed is common, usually outside of the chapel with tables set up of photos of the deceased, mementos, poster boards, videos, guest books. This personalization is important. Question 3: From a spiritual point of view, what do the bereaved need before, during, and after a funeral? What is comforting to them? This depends on the type of death and how much time has passed since the loss. If it is relatively recent, the bereaved are in a state of shock. People describe shock as “crawling out of their skin”. They are not functioning cognitively, which is the same affect as loosing a lot of blood. Their hormones are out of whack. They can’t eat, and they can’t sleep. Be direct. Don’t confuse them. Try to normalize the experience as much as possible. Structured time is really important. Having people around is important. Moving around and doing something is healing. Suggest rituals like lighting a candle, dropping a rock, placing flower on the bouquet, taking a flower off of the bouquet. The inclusion of children is critical. Talk with them directly. Make a place they feel they can belong to. Seeing the body is critical for the grieving process for the next of kin. Water is a great calm during a time of grief, especially the sound of flowing water. Fire as well.
interviews  chaplain Michael Pastor Chaplain January 19, 2016 Goal  To gain a better understanding of the requirements for...
Question 4: How can a funeral/memorial/celebration of life service both acknowledge the grief of death but also remain hopeful/uplifting/etc.? Provide assurance that death is not the end. Liturgy is not recommended because it feels impersonal and over performed. As much personalization about the person as possible makes the funeral seem special and not protocol. The ritual should focus on something that is bigger than them. It should highlight the power of community and love. The service is about the living, and that life goes on after death. Death does not have the final word. The gathering of this ceremony is the way of starting a new beginning. Question 5: Do you think people in American culture acknowledge death in a healthy way? If so, how, and if not, what are the consequences? Question 6: What part of the population struggle to have their needs met in this industry? Pre and peri natal children are not being addressed. Stillbirths and aborted fetuses are not always openly addressed. The protocol is not fixed. There is no set ritual for this kind of tragedy. Not only can these deaths be tragic, but also they can be wrapped up into disenfranchised grief – grief that you can’t be open about. There needs to be a physical space that can acknowledge that people can’t talk about their loss, a space that is private. Young grieving parents, for example, may not want a public service. Where can they go for a ritual that can accommodate what they are going through? Where can they go sit in silence and light a candle? They same can be said with domestic violence or violent deaths in general. People can’t talk about it. These deaths need a chapel for the unnamed loss, for the individual ritual. America does not address death well. Just look at the funeral homes. Address death early. Make your funeral plans now so you are prepared. Most people don’t go to church. Most people don’t think about their own mortality. But, we all desire a connection to something bigger. We desire a ritual, a community: a place to tell our story. We all want grace and acceptance. People are not finding these experiences elsewhere. We are inherently wired for spirituality. We look to something bigger at times of chaos. 135
Question 4  How can a funeral memorial celebration of life service both acknowledge the grief of death but also remain hop...
interviews widower Kurt Widower January 31, 2016 Goal: To gain an understanding of alternatives to funeral and the cremation rituals. My conversation with Kurt was focused around his involvement in three funerals, one during his teenage years of a close friend, his partner, and his niece. His experience with his friend’s funeral at a young age influenced the manner in which he would approach funerals in the future, particularly having personal and nontraditional memorials along with being heavily involved in the cremation process. Question 1: What type of facility was the funeral held in? i.e. funeral chapel, church, funeral home, personal residence, event center, etc. Question 3: Describe the setting of the service as well as the tone. Can you describe what you liked or disliked about the place? The funeral for his friend was held at a traditional funeral home. The funeral for his niece was held at Beal Hall, which he did not elaborate on. For Kurt’s partner, the end of life celebration was held in a small theater three weeks after his passing. Kurt organized, directed, and choreographed the entire ceremony. He chose a theater for the venue because he needed to use projections, dramatic lighting, and also accommodate live music. He wanted personalization of the ceremony. Kurt spoke of his desire to hold a gathering that was “their way”. He spoke of an experience attending a friend’s funeral as a teenager. He found the whole experience to be inauthentic. There was an open casket. He remembers touching his friend’s hand, and yet it didn’t feel like her. She was wearing a lot of makeup. He remembers at this age how fake and forced this traditional death process was, and he made a conscious effort to avoid this type of method and ceremony in the future. As a result, he and his partner decided that they would make their end of life celebrations deeply personal. Kurt placed his partner’s urn front and center on stage, in the spotlight. Their dog laid down on the stage next to the urn during the entire ceremony, which lasted ninety minutes. The celebration was recorded, which I watched with Kurt during our interview. Question 2: What was the program of the service? i.e. formal service, celebration of life, eulogy, open mic, etc. Kurt’s partner’s funeral was described as a celebration of life. There were multiple live musical performances, readings, speeches, eulogies, meditation, and even an art history lecture regarding his partner’s favorite art piece. It was deeply personal and unique to the individual.
interviews  widower Kurt Widower January 31, 2016 Goal  To gain an understanding of alternatives to funeral and the cremat...
Question 4: If cremation was selected, please describe the experience. Question 5: Describe the memorial place, what was it like. Was it pleasing? How could it have been more accommodating? Kurt described in detail his involvement with his niece’s cremation. She had died from cancer at 17 years old. Her mother did not want any of the death industry to be involved in the process of caring for her daughter. She had specifically requested that no one could handle her daughter’s body other than family. She had the body brought to her home. There, she and her family washed and dressed the body. Friends and family came over the next day to pay their respects. The following day they loaded her body into a van and drove to the nearest crematorium that would allow the family to be involved in the process, which was Corvallis, Oregon. At the crematory, they family decorated her body with flowers, herbs, and precious mementos, then as a family they pushed the button on the machine. After this, they took a walk and came back to the facility. They then swept up her ashes and placed them in the urn. Kurt described the experience as emotionally difficult, but having no fear or apprehension. He said the experience was incredibly significant and allowed the situation to be so real, authentic, and therapeutic. Kurt related the experience back to his friend who had died during Kurt’s teenage years. The funeral he attended with his friends did not provide the closure he had hoped, so he and his friends went to the river, gathered stones, and spelled their friend’s name with the stones as a sort of ritual. He described this as providing meaning their way. He related that experience back to the desire to provide personal meaning to his partner and niece’s death. Their family chose to be heavily involved in the entire process as a means to show their love and also as a way to provide “completion” and closure in the process. He describes that as being cremated on “our terms”. The only facility that would allow family to be part of the process was an hour away. The facility was not set up for this type of experience, as Kurt described the interiors as “industrial” and “back of house”. This was not desirable for the experience they wanted, but the family was grateful to have a place to carry out the type of cremation ceremony they wanted to have. Kurt’s partner was also cremated in a similar ceremonial and hands on experience as his niece, but Kurt did not elaborate on this. 137
Question 4  If cremation was selected, please describe the experience.  Question 5  Describe the memorial place, what was ...
interviews mourner Claudia Recently planned a funeral January 27, 2016 I spoke with Claudia about the recent passing of her dad. She was his next of kin and power of attorney. Goal: To gain a holistic understanding of the human condition of grief while being asked to participate and plan a funeral. Question 1: How was your overall experience with the funeral planning and the facility that you used for the funeral? Question 3: What was the program of the funeral? Song, slideshow, music, formal eulogy, etc. Claudia had a positive experience. Part of this was due to the fact that much of her father’s funeral arrangements were already paid for and selected, which took the burden off of her. The other part was due to the strong support system of the nursing home staff where her father lived. Their onsite chaplain also played a valuable role in the grieving and protocol following her dad’s death. A friend played her dad’s favorite piece of music on the piano. Friends shared their memories and tributes to her dad. Letters were also read to those who could not attend. Even the nurses who cared for him came and spoke. The chaplain spoke about her dad personally and gave a short sermon. There was a slideshow at the end that Claudia enjoyed putting together. She said overall it was simple but nice. “It was nice to have that closure”, she said. Question 2: What type of service did you have and what was the tone? Question 4: What was comforting about the facility or church? What was uncomfortable? They choose to have the service at the nursing home’s multipurpose room, which had a fireplace and many northern facing windows. The room was able to accommodate 50 people, and as a result, the funeral felt packed. She said the size of the room was just about perfect. For Claudia, the most impacting thing was the social group supporting her. She said the funeral was a celebration of her dad’s life, but it was also a support system for her. She was so touched by what people said about her dad and how far away people had traveled to support her.
interviews  mourner Claudia Recently planned a funeral January 27, 2016  I spoke with Claudia about the recent passing of ...
Question 5: Was the memorial place honoring of your loved one? Why or why not? Her criticism of the space was that there was no place to mingle or linger afterwards. Additionally, there was no place to eat the light fare that was offered other than in the same room as the service, which she said didn’t feel comfortable. Question 6: If cremation was selected, did you know where and when it was occurring, and how was the urn presented to you? The memorial service was held a few weeks after her dad’s death. She received a call that her dad’s ashes were ready to be picked up. She was initially nervous about this experience, but she said it was not as bad as she was expecting. She said it was all very professional, though she was surprised to find the ashes to be heavier than she anticipated and also put into a cardboard box that was then put into a velvet bag since she was going to make the urn herself. She said the crematorium was a typical storefront and she was not interested in going inside. She therefore did not participate in any of the cremation process, but chimed in that “this is very American”. She said that Americans do not want to have anything to do with the process. She said that she would have wanted to be involved with the process if there was a place to do that, but it was not appropriate at the place they went to, which was quite reasonably priced. For Claudia, being with her dad when he passed was important to her, and what she described as “an honor”. She held his hand throughout the dying process. Her instinct after he had passed was to wash and prepare the body, which the nursing home staff discouraged. That disappointed her. For her, she wanted to be with her dad during the entire dying process, but once he passed, he was removed from her. She was not sure of her dad’s process or location after his death. Claudia’s dad was cremated and his urn was placed in a columbarium back at his hometown, where he had prepaid for a spot. 139
Question 5  Was the memorial place honoring of your loved one  Why or why not  Her criticism of the space was that there w...
precedent studies crematorium heimolen KAAN Architecten Sint-Niklaas, Belgium 34,300 sf 2008 overview Placed on an existing cemetery, the Heimolen Crematorium adds three new functions to the mortuary complex: ceremony, reception, and cremation. The main building holds both the ceremony and reception, while the crematory is located across the lawn. This project addresses the three main topics of interest: ceremony, cremation, and a private setting in nature. environmental The crematory features the latest technology regarding heat efficient ovens and state of the art ventilation, hidden vertically into the building structure. Section - Crematory
precedent studies crematorium heimolen KAAN Architecten Sint-Niklaas, Belgium 34,300 sf 2008  overview Placed on an existi...
organization The ceremony and reception buildings are the hierarchical facilities on the complex, with the crematory located on the other side of the lawn. In this instance, the spatial organization is zoned by buildings. The main building itself is broken up into two functions: ceremony and reception. These facilities are separated, but both share a heavy, extended roof, ultimately tying them together. Metaphorically, the programmatic elements on this complex are divided between the living and the departed. Light features divert the eye upwards in the space for the living, whereas the crematory focuses on daylight from the sides, allowing perforations to advertise the building’s function from the outside; a metaphoric translation of scattered ashes. Site Plan parti Relationally the parti for the two separate buildings, ceremony and crematory, are inverted forms. The building for the living actually houses two buildings sharing a low overhanging roof. This form is then inverted for the crematory, which stands exposed without eaves on a platform. This inversion also plays on the polarizing conditions of life and death. ceremony & reception crematory Site Organization Parti - Inverted Building Forms Hierarchy - Ceremony Space Section - Ceremony Plan - Ceremony 141
organization The ceremony and reception buildings are the hierarchical facilities on the complex, with the crematory locat...
precedent studies copparo crematorium Patrimonio Copparo Copparo, Italy 21,000 sf 2014 overview Located on a community urban park and across from an existing cemetery, the Copparo Crematorio is nestled into the landscape, with the exception of a clean concrete box featuring rhythmic ceramic striping. The materials featured are concrete, glass, and ceramic in controlled, muted tones. The facility houses a chapel, garden waiting area, and oven. Despite the attention to detail to the public areas, the oven and loading room are purely functional spaces, with rather unfinished interiors making clear distinctions between front and back of house. environmental The crematory features the latest technology regarding heat efficient ovens and state of the art ventilation hidden horizontally in the building structure.
precedent studies copparo crematorium Patrimonio Copparo Copparo, Italy 21,000 sf 2014  overview Located on a community ur...
organization Located within one building, the facility’s east end holds the public areas, with the entrance hall, chapel, and meditative “isolated” garden, which is suggested as a waiting area during the cremation process. Adjacent to the entrance hall, the service core houses the operational elements of the facility, including the office, urn storage, and dressing room. The oven and morgue are located adjacent to the chapel with easy access between ceremony and process. However, due to the unfinished state of the crematory, it is assumed that the public are not allowed in this part of the facility, making the boundaries between public and private a defining feature of this facility and more strict than other precedents. Floor Plan service core parti The defining characteristics of this facility is the position of the building in relation to the landscape. The facility is integrated into the hillside, only allowing a clean concrete box to be visible from the park. Much like the public and private realm of the program, the building itself hides the functional aspects of the facility into the hillside, allowing a polished, “minimal”, and rehearsed, looming concrete form to be the visible face along the park edge. It appears heavy but weightless. retort reception garden ceremony Public Hierarchy To Private Parti - box over functional core Site Plan 143
organization Located within one building, the facility   s east end holds the public areas, with the entrance hall, chapel...
precedent studies vestfold crematorium Pushak Sandefjord, Norway 11,200 sf 2011 overview For those grieving “who choose to follow the deceased until cremation” the Vestfold Crematorium features a small program to allow personal and public exposure to cremation. The facility houses a small chapel, waiting area, and in particular to other precedents; a viewing room. In addition, this facility does not hide the chimney, but instead it is abstracted and highlighted. The next of kin are able to view the full process from start to finish. The same natural materials of concrete, brick, and wood are used throughout the entire facility to provide unity and “dignity” to all parts ensuring that there are no hidden aspects to the facility. environmental The crematory features the latest technology regarding heat efficient ovens and state of the art ventilation, oriented vertically in the building structure. Section - Ventilation
precedent studies vestfold crematorium Pushak Sandefjord, Norway 11,200 sf 2011  overview For those grieving    who choose...
organization The facility is divided between services for the living and departed, with the service core being open to the living. The departed are received at a separate service entrance with a receival room, followed by placement in the morgue until they are brought to the ovens. This is a linear progression along the main axis of the facility. There is a clear “architectural delineation” between cremation and the rest of the facility. The portion for the living feels like an attachment to the main function. The living enter from a different entrance with initial access to the small chapel, adjacent to the crux of the facility, the juncture, which holds the waiting area for the next of kin with tables, chairs, a small kitchen, and the viewing room. All spaces in the facility feature views of the adjacent forest. retorts morgue receival viewing room chapel service core Floor Plan parti The focus of the building organization is the departed, with the primary volume of the facility increasing in height from the receival until the penultimate crematory, which receives the whole height of the building. This ascension through cremation metaphor shows the hierarchical function of the building in section. The services for the living merely attach to this part of the building as secondary needs, with heights that are more appropriate for human scale. Parti - Ascension Through Cremation Movement Through Facility Section 145
organization The facility is divided between services for the living and departed, with the service core being open to the...
precedent studies crematorium kedainiai Architects Architectural Bureau G.Natkevicius & Partners Kedainias, Lithuania 8,342 sf 2011 overview Though very recently constructed, this is the first crematorium to be built in Lithuania. The shadow of the Holocaust in conjecture with Catholic resistance and state politics have until recently forced locals to have cremation performed in nearby countries of Poland and Latvia. Located in an industrial park, the facility has taken on an introverted presence, with a closed off concrete shell that surprisingly opens inwardly to delicate glass curtain walls and a statement elm in the courtyard. environmental The crematory features the latest technology regarding heat efficient ovens and state of the art ventilation, hidden horizontally in the building structure. Sections - Crematory
precedent studies  crematorium kedainiai Architects Architectural Bureau G.Natkevicius   Partners Kedainias, Lithuania 8,3...
Morgue organization Service Core Receival Closed off from the adjacent industrial park, the crematorium focuses inward and creates a solemn stark tone by use of concrete to connect the entire space. The limited materials and stark color palette allows a space of intense concentration. A Japanese style courtyard greets the visitor in the courtyard, allowing a single element of nature to stand firmly in contrast to its’ surroundings. The facility is zoned into three main functions: cremation, ceremony, and reception. There are two ceremony chapels of difference sizes. The deceased can easily be wheeled into place in the chapels by use of sliding door and platform, then wheeled into the casket loading area for the final send off. The living and departed only overlap in these zones, situated in the heart of the facility. Otherwise, the departed are located on the left and the living to the right of the building. Retorts Chapels Casket Loading Reception Floor Plan parti The play between the use of thick concrete walls with thin sheets of glazing only discovered upon entrance is a lovely play of public to private. The stark conditions set a dramatic tone, and by allowing the use of one piece of vegetation to be highlighted as the focal point, this plant becomes the tree of life amongst the hardscape. Cremation Ceremony Reception Zoning Parti - Glazing to solid walls Living / Departed Overlap Section 147
Morgue  organization  Service Core  Receival  Closed off from the adjacent industrial park, the crematorium focuses inward...
precedent studies tanatorio de pinoso Cor & Asociados Pinoso Spain 5,328 sf 2013 overview Located at the edge of town, the city of Pinoso’s funeral home shares neighboring borders with municipal buildings, which caused the building to be situated into the hillside like a “cave” as a method to create privacy. The building’s footprint spreads out among various courtyards, allowing the natural surrounding to be at every turn. Acoustical and visual privacy were the top concerns of this project. environmental Sustainable and ecological measures were ensured to allow the building and the site to merge harmoniously. Volumetric Axon
precedent studies tanatorio de pinoso Cor   Asociados Pinoso Spain 5,328 sf 2013  overview Located at the edge of town, th...
organization The building is organized in a manner that allows privacy to be increased as one moves into the building, from the entry and cafeteria, the chapel and waiting rooms, and the wake rooms themselves. This privacy gradient ensure that those in deep mourning have layers between them and the outside world. The building is balanced between the blunt and thick exterior and the thin, almost “fragile” glass interior. The color palette keeps white and black as the dominant extremes, with birch wood used a threshold markers for the wake chambers. wake waiting area chapel vestibule parti The surrounding landscape and the placement of the building within the site are the defining elements of the facility. The views from the interior allow for an insular experience, yet one that is not closed off from nature. The interior courtyards along with the berm perimeter barriers are surprising interruptions, which allow occupants to weave around the property in a meditative state. Inside, this creates paths, privacy, and pause for reflection. service core chapel cafeteria Floor Plan Privacy Gradient - leading to wake rooms Sections Parti - Figure / Ground 149
organization The building is organized in a manner that allows privacy to be increased as one moves into the building, fro...
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Engler, Jason Ryan.    The Via Lucis  November   December Crematories.    The Via Lucis  November   December Crematories. ...