A Natural Requiem by ERLING BERG
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Transcript of A Natural Requiem by ERLING BERG
a Master of Architecture Thesis by Erling Berg
ACADEMY OF ART UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE
STUDENT ID 03643129 MARCH (63 UNITS)
- FINAL REVIEW DECEMBER 8TH 2014- GRADUATION MAY 2015
A NATURAL REQUIEM - A modernized and personalized take on the funeral process
DEFINED CONCEPT amp FINAL DESIGN PHASE 3
ANOTHER LOOK AT THE GLACIERS MODEL STUDIES - LIGHT SPACE amp LAYERS (48)
MATERIALITY DESIGN PROCESS
MATERIAL PALETTE amp SUSTAINABILITY (47) SITE PLAN (46)
FLOOR PLAN PROCESS (48) CONGREGATION SEATING ORGANIZATION
FLOOR PLAN MAIN BUILDING (410) SECTION A-A (416)
MAIN ELEVATIONS WITHIN CUT (415) SECTION D-D (416)
SECTION B-B amp SECTION C-C (416 420) REPAST AREA DESIGN DIAGRAM (48)
FLOOR PLAN REPAST AREA (410) ELEVATION REPAST AREA (415)
SECTION E-E (416) CEMETERY CONCEPT
CEMETERY DIAGRAMS amp MAIN LAYOUT (48) URN DESIGN
PARTIAL MATERIAL ELEVATION AXONOMETRIC PROGRAM MATRIX (49 413 414)
WALL SECTION amp PARTIAL ELEVATION (417 418 419) MECHANICAL DIAGRAMS (414)
MODEL PHOTOS (421 424) BUILDING CODE SUMMARY (411)
TIMELINE OF STUDY INDEX
TABLE OF CONTENTS
SIGNATURE PAGE REQUIEM DEFINITION
INTRODUCTION amp MISSION STATEMENT (41) DIAGRAMATIC MISSION STATEMENT (41)
PRECEDENTS (42)
SITE ANALYSIS amp CONCEPT DEVELOPMENT PHASE 1
SITE INFORMATION + EXITSTING SITE MAIN CIRCULATION (43 44)
OLDER CEMETERIES IN THE SURROUNDING AREA ACITIVITY EXISTING SITE (44 45)
SITE PHOTOS TUNE LAKE amp SURROUNDING AREA
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE SITE ANALYSIS + MAPPING (44 45)
PRECENCE OF ABSENCE + DIRECTIONS (44 45) PRECENCE OF ABSENCE + ZONES (44 45)
CONTROL OF THE FOREST (44 45) GOLDEN RATIO + FINAL ZONES AND DIRECTIONS (44 45)
DESIGN CONCEPT PHASE 2
THE KUumlBLER-ROSS MODEL (48) STUDIES IN SECTION (43)
THE GLACIER CONCEPT (41 43) CONCEPTUAL SITE SECTIONS (43 44)
PROGRAM MATRIX VOLUMES (49) CONCEPTUAL PERSPECTIVES (48)
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16-1718-27
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30-3637383940
42-4344-4546-4747-48
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55 57-60
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64-656667687071
72-737475788081828587899091
92-9394-95
96-100101102103
- By fusing architecture with nature the projectrsquos design and use of the site aims to create a modernized and personalized ƚĂŬĞŽŶƚŚĞĨƵŶĞƌĂůƉƌŽĐĞƐƐtŝƚŚĂŵĂŝŶĨŽĐƵƐŽŶĐŝƌĐƵůĂƟŽŶůŝŐŚƚůĂŶĚƐĐĂƉĞĂŶĚŵĂƚĞƌŝĂůƐƚŚĞƉƌŽũĞĐƚ ƐŐŽĂůŝƐƚŽĐƌĞĂƚĞa sense of place on the site This sense of place within nature aims to create ƐƉĂĐŝĂůƋƵĂůŝƟĞƐŵƵĐŚŶĞĞĚĞĚƚŽĨƵůĮůůĂmeaningful mourning process in the fast-pace modern world we live in
ERLING BERG
DAVID KESLER
RICHARD SMITH
MARK MUECKENHEIM
3
Master of Architecture Thesis Student
Thesis Advisor
Thesis Coordinator
Graduate Director of Architecture
4
ƌĞƋƵŝĞŵƌĞƋͼƵŝͼĞŵढ़ƌŬǁࡁॠŵmass for the dead (Roman Catholic Church)
ΎŵĂƐƐсĐĞůĞďƌĂƟŽŶŽĨƚŚĞƐŽƵůgtĂƟŶͿ
5
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
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A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
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A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
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AA
A
A
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A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
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c
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cccccccccccccccccccccc
ccccccccccccc
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ccccccccccc
ccccccccc
cc
cccccccccccccc
c
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cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
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AAA
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A
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A
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A
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A
AA A
A
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cc
c cccc c
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ccc cccccc
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SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
DEFINED CONCEPT amp FINAL DESIGN PHASE 3
ANOTHER LOOK AT THE GLACIERS MODEL STUDIES - LIGHT SPACE amp LAYERS (48)
MATERIALITY DESIGN PROCESS
MATERIAL PALETTE amp SUSTAINABILITY (47) SITE PLAN (46)
FLOOR PLAN PROCESS (48) CONGREGATION SEATING ORGANIZATION
FLOOR PLAN MAIN BUILDING (410) SECTION A-A (416)
MAIN ELEVATIONS WITHIN CUT (415) SECTION D-D (416)
SECTION B-B amp SECTION C-C (416 420) REPAST AREA DESIGN DIAGRAM (48)
FLOOR PLAN REPAST AREA (410) ELEVATION REPAST AREA (415)
SECTION E-E (416) CEMETERY CONCEPT
CEMETERY DIAGRAMS amp MAIN LAYOUT (48) URN DESIGN
PARTIAL MATERIAL ELEVATION AXONOMETRIC PROGRAM MATRIX (49 413 414)
WALL SECTION amp PARTIAL ELEVATION (417 418 419) MECHANICAL DIAGRAMS (414)
MODEL PHOTOS (421 424) BUILDING CODE SUMMARY (411)
TIMELINE OF STUDY INDEX
TABLE OF CONTENTS
SIGNATURE PAGE REQUIEM DEFINITION
INTRODUCTION amp MISSION STATEMENT (41) DIAGRAMATIC MISSION STATEMENT (41)
PRECEDENTS (42)
SITE ANALYSIS amp CONCEPT DEVELOPMENT PHASE 1
SITE INFORMATION + EXITSTING SITE MAIN CIRCULATION (43 44)
OLDER CEMETERIES IN THE SURROUNDING AREA ACITIVITY EXISTING SITE (44 45)
SITE PHOTOS TUNE LAKE amp SURROUNDING AREA
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE SITE ANALYSIS + MAPPING (44 45)
PRECENCE OF ABSENCE + DIRECTIONS (44 45) PRECENCE OF ABSENCE + ZONES (44 45)
CONTROL OF THE FOREST (44 45) GOLDEN RATIO + FINAL ZONES AND DIRECTIONS (44 45)
DESIGN CONCEPT PHASE 2
THE KUumlBLER-ROSS MODEL (48) STUDIES IN SECTION (43)
THE GLACIER CONCEPT (41 43) CONCEPTUAL SITE SECTIONS (43 44)
PROGRAM MATRIX VOLUMES (49) CONCEPTUAL PERSPECTIVES (48)
3 57
8-910-11
131415
16-1718-27
2829
30-3637383940
42-4344-4546-4747-48
5152-53
55 57-60
6263
64-656667687071
72-737475788081828587899091
92-9394-95
96-100101102103
- By fusing architecture with nature the projectrsquos design and use of the site aims to create a modernized and personalized ƚĂŬĞŽŶƚŚĞĨƵŶĞƌĂůƉƌŽĐĞƐƐtŝƚŚĂŵĂŝŶĨŽĐƵƐŽŶĐŝƌĐƵůĂƟŽŶůŝŐŚƚůĂŶĚƐĐĂƉĞĂŶĚŵĂƚĞƌŝĂůƐƚŚĞƉƌŽũĞĐƚ ƐŐŽĂůŝƐƚŽĐƌĞĂƚĞa sense of place on the site This sense of place within nature aims to create ƐƉĂĐŝĂůƋƵĂůŝƟĞƐŵƵĐŚŶĞĞĚĞĚƚŽĨƵůĮůůĂmeaningful mourning process in the fast-pace modern world we live in
ERLING BERG
DAVID KESLER
RICHARD SMITH
MARK MUECKENHEIM
3
Master of Architecture Thesis Student
Thesis Advisor
Thesis Coordinator
Graduate Director of Architecture
4
ƌĞƋƵŝĞŵƌĞƋͼƵŝͼĞŵढ़ƌŬǁࡁॠŵmass for the dead (Roman Catholic Church)
ΎŵĂƐƐсĐĞůĞďƌĂƟŽŶŽĨƚŚĞƐŽƵůgtĂƟŶͿ
5
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
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A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
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A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
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DIAGRAMATIC MISSION STATEMENT
8
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c cccc c
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ccc cccccc
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SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
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SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- By fusing architecture with nature the projectrsquos design and use of the site aims to create a modernized and personalized ƚĂŬĞŽŶƚŚĞĨƵŶĞƌĂůƉƌŽĐĞƐƐtŝƚŚĂŵĂŝŶĨŽĐƵƐŽŶĐŝƌĐƵůĂƟŽŶůŝŐŚƚůĂŶĚƐĐĂƉĞĂŶĚŵĂƚĞƌŝĂůƐƚŚĞƉƌŽũĞĐƚ ƐŐŽĂůŝƐƚŽĐƌĞĂƚĞa sense of place on the site This sense of place within nature aims to create ƐƉĂĐŝĂůƋƵĂůŝƟĞƐŵƵĐŚŶĞĞĚĞĚƚŽĨƵůĮůůĂmeaningful mourning process in the fast-pace modern world we live in
ERLING BERG
DAVID KESLER
RICHARD SMITH
MARK MUECKENHEIM
3
Master of Architecture Thesis Student
Thesis Advisor
Thesis Coordinator
Graduate Director of Architecture
4
ƌĞƋƵŝĞŵƌĞƋͼƵŝͼĞŵढ़ƌŬǁࡁॠŵmass for the dead (Roman Catholic Church)
ΎŵĂƐƐсĐĞůĞďƌĂƟŽŶŽĨƚŚĞƐŽƵůgtĂƟŶͿ
5
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
AA
AA
A
AA
A
A
AA
AAA
cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
ERLING BERG
DAVID KESLER
RICHARD SMITH
MARK MUECKENHEIM
3
Master of Architecture Thesis Student
Thesis Advisor
Thesis Coordinator
Graduate Director of Architecture
4
ƌĞƋƵŝĞŵƌĞƋͼƵŝͼĞŵढ़ƌŬǁࡁॠŵmass for the dead (Roman Catholic Church)
ΎŵĂƐƐсĐĞůĞďƌĂƟŽŶŽĨƚŚĞƐŽƵůgtĂƟŶͿ
5
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
AA
AA
A
AA
A
A
AA
AAA
cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
4
ƌĞƋƵŝĞŵƌĞƋͼƵŝͼĞŵढ़ƌŬǁࡁॠŵmass for the dead (Roman Catholic Church)
ΎŵĂƐƐсĐĞůĞďƌĂƟŽŶŽĨƚŚĞƐŽƵůgtĂƟŶͿ
5
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
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A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
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A
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A
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cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
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ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
ƌĞƋƵŝĞŵƌĞƋͼƵŝͼĞŵढ़ƌŬǁࡁॠŵmass for the dead (Roman Catholic Church)
ΎŵĂƐƐсĐĞůĞďƌĂƟŽŶŽĨƚŚĞƐŽƵůgtĂƟŶͿ
5
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
AA
AA
A
AA
A
A
AA
AAA
cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
6
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
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A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
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A
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A
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cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
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ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
INTRODUCTION amp MISSION STATEMENT
In November 2008 I went to my grandfatherrsquos funeral in ^ĂƌƉƐďŽƌŐEŽƌǁĂLJ ĞǁĂƐĂƚĞdžƟůĞĞŶŐŝŶĞĞƌĂŶĚĂǁĞůůŬŶŽǁŶůĂŶĚƐĐĂƉĞƉĂŝŶƚĞƌŝŶƚŚĞĐŽƵŶƚLJŽĨTƐƞŽůĚEŽƌǁĂLJ He always talked about the peace and serenity of nature ĂŶĚƚŚŝŶŬƚŚĂƚǁĂƐŽŶĞŽĨŚŝƐŵĂŝŶƌĞĂƐŽŶƐĨŽƌƉĂŝŶƟŶŐƚŚĞůĂŶĚƐĐĂƉĞŽǀĞƌĂŶĚŽǀĞƌĂŐĂŝŶůŽƚŽĨƉĞŽƉůĞĂƩĞŶĚĞĚŚŝƐfuneral in Sarpsborg Crematorium Chapel all the benches ǁĞƌĞĮůůĞĚƵƉdŚĞƌĞǁĂƐĂůŽƚŽĨĨĂŵŝůŝĂƌĨĂĐĞƐďƵƚĂůƐŽŵĂŶLJIrsquod never seen before mourning over the loss of Einar Herman Berg The pastor talked for about 40 minutes mostly about ŽĚĂŶĚĞĂǀĞŶZĞůŝŐŝŽŶͿƚŚĞŶŚĞŵĞŶƟŽŶĞĚĂĨĞǁƚŚŝŶŐƐabout my grandfather and his life some of it he got wrong I ƌĞŵĞŵďĞƌƚŚŝŶŬŝŶŐŝƚǁĂƐǀĞƌLJĐůĞĂƌŝŶƚŚĂƚƐŝƚƵĂƟŽŶƚŚĂƚƚŚĞman standing by the pulpit in front of all of us had never met ŵLJŐƌĂŶĚĨĂƚŚĞƌďĞĨŽƌĞďƵƚƐƟůůŚĞǁĂƐƉƌĞƚĞŶĚŝŶŐƚŽŬŶŽǁŚŝŵǁĂƐƐŝƫŶŐŽŶƚŚĞůĞŌĨƌŽŶƚďĞŶĐŚŶĞdžƚƚŽŵLJĨĂƚŚĞƌand uncle holding my fatherrsquos hand Wersquore a large family so ŵĂŶLJŽĨƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJŵĞŵďĞƌƐǁĞƌĞƐŝƫŶŐďĞŚŝŶĚƵƐfacing our shoulders from the second and third row I would turn back every now and then trying to reach out to my sisters and cousins it was a weird arrangement At the hardest and ŵŽƐƚĞŵŽƟŽŶĂůƟŵĞŽĨƐĂLJŝŶŐŐŽŽĚͲďLJĞƚŽŽƵƌŐƌĂŶĚĨĂƚŚĞƌ we were separated by these benches and the order of the chapel ŌĞƌƚŚĞƐƚƌĂŶŐĞƌŽĨĂƉĂƐƚŽƌĮŶŝƐŚĞĚŚŝƐŝŵƉĞƌƐŽŶĂůspeech and the funeral service was over we stood up and ǁĂůŬĞĚŽƵƚŽĨƚŚĞĐŚĂƉĞůƐƚĂƌƟŶŐǁŝƚŚƚŚĞĐůŽƐĞƐƚĨĂŵŝůLJon the front rows Once being on the outside seeing all the people leaving the chapel I could see a lot of mourning sad ĨĂĐĞƐdŚĞLJŚĂĚĐůĞĂƌůLJůŽƐƚĂŐŽŽĚĨƌŝĞŶĚďƌŝĞŇLJƐƉŽŬĞƚŽsome of them also some that Irsquod never met before But most of them I never spoke to or saw againŌĞƌƚŚĞƐĞƌǀŝĐĞŝŶƚŚĞĐŚĂƉĞůŵLJĨĂŵŝůLJĂŶĚƐŽŵĞŽĨŵLJgrandfatherrsquos closest friends went to a property on the other side of town for some light dining and a few more personal ƐƉĞĞĐŚĞƐĂŶĚǁŽƌĚƐdŚĂƚĨĞůƚŐŽŽĚďƵƚĂƚƚŚĞƐĂŵĞƟŵĞŝƚĨĞůƚůŝŬĞŝƚĐĂŵĞĂůŝƩůĞƚŽŽůĂƚĞͲǁŚLJǁĂƐŶƚƚŚĞŵĂŝŶĨƵŶĞƌĂůservice more personal Why was there an unknown man ƚĂůŬŝŶŐĂďŽƵƚĂŽĚĂŶĚĂĞĂǀĞŶŝŶĂŚƌŝƐƟĂŶĐŚĂƉĞůǁŚĞŶmy grandfather never went to church and was not a man of religion
There must be a modernized and more personal way to ŚĂǀĞĂĨƵŶĞƌĂůŝŶƚŽĚĂLJ ƐEŽƌǁĂLJǁŚĞƌĞĂďŽƵƚϴϬͲϵϬйŽĨƚŚĞƉŽƉƵůĂƟŽŶĚŽŶƚĐŽŶƐŝĚĞƌƚŚĞŵƐĞůǀĞƐĂƐĂĐƟǀĞƌĞůŝŐŝŽƵƐƉĞŽƉůĞͲǀĞƌLJŽŶĞĚĞƐĞƌǀĞƐĂĨƵŶĞƌĂůƚŚĂƚŚŽŶŽƵƌƐƚŚĞŝƌůŝĨĞand is meaningful for their loved ones
How can I create an architectural environment that impacts ĂŶĚƌĞŝŶĨŽƌĐĞƚŚĞǁĂLJŽĨŵŽƵƌŶŝŶŐŝŶĂƉŽƐŝƟǀĞĂŶĚƌĞƐƉĞĐƞƵůŵĂŶŶĞƌtŚĂƚŬŝŶĚŽĨƐƉĂĐŝĂůƋƵĂůŝƟĞƐĂƌĞŶĞĞĚĞĚƚŽĨƵůĮůůĂŵĞĂŶŝŶŐĨƵůĂŶĚŵŽĚĞƌŶŝnjĞĚŵŽƵƌŶŝŶŐƉƌŽĐĞƐƐŝŶƚŚĞĨĂƐƚͲpace modern world we live in
LJƵƐŝŶŐĚŝīĞƌĞŶƚĂŶĂůLJƐŝƐŽĨƚŚĞƐŝƚĞƚŚĞŵĂŝŶŐŽĂůĨŽƌƚŚŝƐƉƌŽũĞĐƚŝƐƚŽĨƵƐĞƚŚĞƋƵĂůŝƟĞƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞǁŝƚŚƚŚĞƋƵĂůŝƟĞƐŽĨŶĂƚƵƌĞdŚƌŽƵŐŚŽƵƚƚŚĞƉƌŽĐĞƐƐŽĨƚŚĞƚŚĞƐŝƐŝƚbecame very important to create an environment suitable ĨŽƌĞǀĞƌLJŽŶĞǁŚŽǁĂŶƚƐƐŽŵĞƚŚŝŶŐĚŝīĞƌĞŶƚƚŚĂŶǁŚĂƚƚŚĞchurch provides today in the case of funerals and mourning dŚĞƉƌŽũĞĐƚĐŽŶƚĂŝŶƐƐƉĂĐĞƐĨŽƌƌĞĐƌĞĂƟŽŶĂŶĚŵŽƵƌŶŝŶŐƵƐŝŶŐƚŚĞƐŝƚĞĂŶĚŝƚƐƐƵƌƌŽƵŶĚŝŶŐƉĂƌŬĂƌĞĂŝŶƚĞŐƌĂƟŶŐĞǀĞƌLJĚĂLJƵƐĞƌƐŽĨƚŚĞƉĂƌŬǁŝƚŚƚŚĞĐŽŶŐƌĞŐĂƟŽŶĂŶĚŵŽƵƌŶĞƌƐŽĨƚŚĞĨƵŶĞƌĂůƐKĸĐĞƐĨŽƌƚŚĞƌĂƉŝƐƚƐĂŶĚƉƐLJĐŚŽůŽŐŝƐƚƐƉƌŽĨĞƐƐŝŽŶĂůƐǁŝůůƌĞƉůĂĐĞƚŚĞƚLJƉŝĐĂůƉĂƐƚŽƌͲWĂƐƚŽƌƚƌĂŶƐůĂƚĞƐto Soul Guide in old Norwegian These professionals will not ŽŶůLJƉƌŽǀŝĚĞŐƵŝĚĂŶĐĞĂŌĞƌĂĨƵŶĞƌĂůďƵƚĐĂŶĂůƐŽďĞƚŚĞƌĞbefore someone dies to help their loved ones to learn how to deal with and understand death
Spiritual Spaces for the funeral service will work with the elements of nature and create a peaceful environment for ŵŽƵƌŶŝŶŐ^ĞƋƵĞŶĐĞĐŝƌĐƵůĂƟŽŶƐLJŵďŽůŝƐŵŵĂƚĞƌŝĂůŝƐŵĂŶĚŶĂƚƵƌĂůůŝŐŚƚǁĞƌĞĂůůŝŵƉŽƌƚĂŶƚĨĂĐƚŽƌƐĨŽƌƚŚĞĮŶĂůarchitectural expression
WHY CREMATION
dŚƌŽƵŐŚŵŽƐƚŽĨƚŚĞƌŽŶnjĞĂŶĚƌŽŶŐĞĐƌĞŵĂƟŽŶǁĂƐĐŽŵŵŽŶŝŶEŽƌǁĂLJ ampƌŽŵĂƌŽƵŶĚLJĞĂƌϭϬϬϬͲϭϭϬϬŝƚďĞĐĂŵĞŝŶĐƌĞĂƐŝŶŐůLJƵŶĐŽŵŵŽŶďĞĐĂƵƐĞŚƌŝƐƟĂŶŝƚLJǁĂƐƚƌĂĚŝƟŽŶĂůůLJŶĞŐĂƟǀĞƚŽǁĂƌĚƐĐƌĞŵĂƟŽŶdŚĞŚƵƌĐŚŽĨEŽƌǁĂLJůĂƚĞƌďĂŶŶĞĚĐƌĞŵĂƟŽŶƵŶƟůŝƚǁĂƐůĞŐĂůŝnjĞĚĂŐĂŝŶŝŶϭϴϵϴ Today as most people in Norway donrsquot follow any ƌĞůŝŐŝŽƵƐĞŶƟƚLJ ƚŚĞĐŚƵƌĐŚ ƐǀŝĞǁŝƐĂƚŚŝŶŐŽĨƚŚĞƉĂƐƚƚ Ɛrather a personal view and decision As more and more of ƚŚĞƉŽƉƵůĂƟŽŶůŝǀĞĨĂƌĨƌŽŵŚŽŵĞƚŽǁŶƐĂŶĚƉĂƌĞŶƚƐĂŶĚĂƐfamily burial plots have waned in popularity and accessibility ŵŽƌĞƉĞŽƉůĞŚĂǀĞƚƵƌŶĞĚƚŽĐƌĞŵĂƟŽŶĂƐĂƉƌĂĐƟĐĂůĂŶĚĐŽƐƚͲĞīĞĐƟǀĞǁĂLJƚŽĐĂƌĞĨŽƌĂůŽǀĞĚŽŶĞ ƐƌĞŵĂŝŶƐdŚĞŵĂŝŶƌĞĂƐŽŶŝƐůŽǁĞƌĐŽƐƚĂŶĚůĞƐƐƵƐĞŽĨƐƉĂĐĞĐƌĞŵĂƟŽŶĐŽƐƚabout the third of what a normal burial costs and take up ĂďŽƵƚŽŶĞĮŌĞĞŶƚŚŽĨƚŚĞƐƉĂĐĞĚĞƉĞŶĚŝŶŐŽŶƚŚĞƐŝnjĞŽĨƚŚĞƵƌŶĂŶĚŽƌĐĂƐŬĞƚ
ΎgtŝŬĞŵĂŶLJĐŝƟĞƐƚŚƌŽƵŐŚŽƵƚEŽƌǁĂLJ^ĂƌƉƐďŽƌŐ ƐŽůĚĐĞŵĞƚĞƌŝĞƐĂƌĞŽǀĞƌĐƌŽǁĚĞĚĂŶĚƚŚĞŐƌŽǁŝŶŐĐŝƚLJŝƐŝŶŶĞĞĚŽĨŵŽƌĞƐƉĂĐĞĨŽƌŝƚƐĐĞŵĞƚĞƌŝĞƐŽƌďƵŝůĚŶĞǁŽŶĞƐ
WZKdh^ZZKhW
ampŽƌĂŶLJŽŶĞǁŚŽĚŽĞƐŶƚĨŽůůŽǁĂƉĂƌƟĐƵůĂƌƌĞůŝŐŝŽƵƐĞŶƟƚLJŽƌanyone who seeks a modernized and meaningful mourning and funeral process
A FEW FACTS
ͲKŶƚŚĞƋƵĞƐƟŽŶĂƌĞLJŽƵĂŶĂĐƟǀĞŵĞŵďĞƌŽĨĂŶLJƌĞůŝŐŝŽƵƐŽƌĐŚƌŝƐƟĂŶŽƌŐĂŶŝnjĂƟŽŶKŶůLJϭϭйƐĂŝĚLJĞƐĂŶĚϴϴйƐĂŝĚŶŽϭйĂŶƐǁĞƌĞĚĚŽŶƚŬŶŽǁͿΎĞŶƚƌĂůƵƌĞĂƵŽĨ^ƚĂƟƐƟĐƐͲEŽƌǁĂLJϮϬϬϴ
ͲdŚĞĐŚƵƌĐŚŽĨŶŽƌǁĂLJĞƐƚĂďůŝƐŚĞĚĂŌĞƌƚŚĞůƵƚŚĞƌĂŶƌĞĨŽƌŵĂƟŽŶŝŶĞŶŵĂƌŬʹEŽƌǁĂLJŝŶϭϱϯϲʹϭϱϯϳͿǁĂƐƚŚĞƐƚĂƚĞĐŚƵƌĐŚŵĂŬŝŶŐĐŚƌŝƐƟĂŶŝƚLJƚŚĞƐƚĂƚĞŽĸĐŝĂůƌĞůŝŐŝŽŶŽĨEŽƌǁĂLJƵŶƟůŵĂLJϭϰƚŚϮϬϭϮǁŚĞŶƚŚŝƐǁĂƐĚŝƐĐŽŶƟŶƵĞĚ
ͲdŚĞĐŚƵƌĐŚƐƟůůĐŽŶƚƌŽůƐŵŽƐƚĨƵŶĞƌĂůƐŝŶŶŽƌǁĂLJƐŝŶĐĞĐĞŵĞƚĞƌŝĞƐŐĞŶĞƌĂůůLJďĞůŽŶŐƚŽĐŚƌŝƐƟĂŶĐŚƵƌĐŚĞƐŽƌĐŚĂƉĞůƐwhere the funeral services are held
ͲWĂƐƚŽƌƐĂƌĞƵƐƵĂůůLJƚƌĂĚŝƟŽŶĂůůLJͿƚŚĞŵĂŝŶƐƉĞĂŬĞƌŝŶĂŶLJfuneral service in Norway
ͲŶŵŽƐƚĐĂƐĞƐƚŚĞĚĞĐĞĂƐĞĚнŚŝƐŚĞƌĨĂŵŝůLJͿĚŽĞƐŶƚŬŶŽǁthe pastor and the pastor does not know the deceased or ƚŚĞŵŽƵƌŶŝŶŐĨĂŵŝůLJнĨƌŝĞŶĚƐďĞĐĂƵƐĞƉĞŽƉůĞĚŽŶƚĂƩĞŶĚchurch)
^dDdWZKdWZKZD
Ͳ^WZdhgt^W^ampKZamphEhZgt^Zs^EDKhZEEсϳϬϬŵ2ϳϱϬϬŌ2)
ͲDdZzсϭϴϲϬϬŵ2ϮϬϬϬϬϬŌ2)
ͲWZK^^KE^WΘZZdKEсϱϱϬŵ2ϲϬϬϬŌ2)
ͲZW^dZEEgtZdKEͿсϰϲϬŵ2ϱϬϬϬŌ2)
ͲZDdKZhD = 200 m2ϮϭϱϬŌ2)
ͲKzWZWZdKEZKKDнDKZh = 100 m2ϭϮϬϬŌ2)
ͲKampamp^сϭϱϬŵ2 ϭϲϬϬŌ2)
ϳ
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
AA
AA
A
AA
A
A
AA
AAA
cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
A
nAn1
A NORWEGIAN FUNERAL TODAY - HIERARCHY (With the church pastor on the top)
2
3
A
A FUNERAL IN THE PAST AND THE FUTURE- UNITY tŝƚŚƚŚĞĚĞĐĞĂƐĞĚŝŶƚŚĞĐĞŶƚĞƌŽĨĂƩĞŶƟŽŶͿ
12
AAAAA
AAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AAA
AA
DIAGRAMATIC MISSION STATEMENT
8
cccccccccccccc
cccccccc
c
ccccccc
cccccccccccccccccccccc
ccccccccccccc
cccccccccc
ccccccccccc
ccccccccc
cc
cccccccccccccc
c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
AA
AA
A
AA
A
A
AA
AAA
cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
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c
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cc
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c
ccccc
cccc
cccccccccccc
c
A
AAAAAAAAAAA
AA
AAAAAAAAAA
AAAAAA
AAA
AAAAAAAAA
A
AA
A
A
A
A
A
A
AA
A
AA A
A
AA
AA
A
AA
A
A
AA
AAA
cc
c cccc c
cc cc
cc
cccccc
ccccc
ccc cccccc
cc
SITE
ZĞůŝŐŝŽŶŚĂƐĂůǁĂLJƐŚĂĚĂĐŽŶŶĞĐƟŽŶǁŝƚŚŶĂƚƵƌĞǁŚĞƚŚĞƌŝƚŝƐŵĞƚĞŽƌŽůŽŐŝĐĂů(wind rain snow lightning + thunder) ŽƌĐĞůĞƐƟĂů(the sky the stars)ŽƌŽƚŚĞƌĞůĞŵĞŶƚƐĂŶĚĨŽƌĐĞƐdŚŝƐŝƐǁŚLJǁĞĐĂůůŝƚDŽƚŚĞƌEĂƚƵƌĞ
ƵĞƚŽůŝŵŝƚĞĚƵŶĚĞƌƐƚĂŶĚŝŶŐĐƵůƚƵƌĞƐĐƌĞĂƚĞĚĂĐŽŶŶĞĐƟŽŶďĞƚǁĞĞŶƚŚĞĞǀĞŶƚƐŽĨůŝĨĞĂŶĚDŽƚŚĞƌEĂƚƵƌĞĞŐĂŽĚ dŚƌŽƵŐŚEŽƌƐĞŵLJƚŚŽůŽŐLJsŝŬŝŶŐƐďĞůĞŝǀĞĚƚŚĂƚƚŚƵŶĚĞƌĂŶĚůŝŐŚƚŶŝŶŐǁĂƐĂƌĞƐƵůƚŽĨdŚŽƌƐƚƌŝŬŝŶŐŚŝƐŚĂŵŵĞƌ
dŽĚĂLJƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƚŽŵĂŶLJŽĨŽƵƌƋƵĞƐƟŽŶƐĂŶĚƐŚŽǁƐƵƐĂůĂƌŐĞƌƉŝĐƚƵƌĞŽĨůŝĨĞǁŝƚŚŐƌĞĂƚĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐEŽƚŽŶůLJĚŽĞƐƐĐŝĞŶĐĞƉƌŽǀŝĚĞƐƵƐǁŝƚŚĂŶƐǁĞƌƐƌĞůĂƟŶŐƚŽƚŚĞƉůĂŶĞƚǁĞůŝǀĞŽŶďƵƚƚŽƚŚĞƵŶŝǀĞƌƐĞǁĞĂƌĞĂƉĂƌƚŽĨ
dZDgtKt^Kt^d^^hZZKhEzdKEZdKEEd^^hZZKhEzDKdZEdhZ
- THE FUNERAL ATTRACTS OTHER USERS OF THE PARK THE CONGREGATION AND REGULAR USERS OF THE PARK IS MIXED TOGETHER - THE DECEASED IS IN THE CENTER OF ATTENTION
9
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
10
kn
SEQUENCE CIRCULATION amp LIGHT
VILLA SAVOYE LE CORBUSIER
VILLA SAVOYE (DESIGNED 1928 - 1930) GOT A VERY STRONG CIRCULATION AND SEQUENCE OF SPACES THE USER MOVE THROUGH THE BUILDING AUTOMATICALLY LIKE LE CORBUSIER INTENDED
LE CORBUSIER ALSO PLAYED WITH LIGHT COLORS AND ATMOSPHERE WHILE DESIGNING THE VILLA
JUVET LANDSCAPE HOTEL JENSEN amp SKODVIN ARKITEKTER
THE SMALL CABINS ARE SPREAD OUT THROUGH AN AREA IN THE WOODS OF VALLDAL NORWAY STANDING ON TINY COLUMNS WITHOUT MAKING ANY FOOTPRINTS THE CABINS BECOMES ONE WITH NATURE
STEILNESET MEMORIAL PETER ZUMTHOR amp LOUISE BOURGEOIS
THE MEMORIAL (BUILT 2011) BY PETER ZUMTHOR AND LOUISE BOURGEOIS ON AN ISLAND IN NORTHERN NORWAY IS DESIGNED TO COMMEMORATE SUSPECTED WITCHES WHO WERE BURNED AT THE STAKE THERE IN THE SEVENTEENTH CENTURY THE MEMORIAL GOT A STRIKING RESEMBLANCE TO THE DRY-FISH STRUCTURES USED IN NORTHERN NORWAY BY THE COAST USING THE SAME STRUCTURE AND MATERIALS A CHAIR ON FIRE SYMBOLIZES THE VICTIMS THAT WHERE BURNED
LANDSCAPE SYMBOLISM amp MATERIALS
ARCHITECTURAL PRECENDENTS
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
11
NON-ARCHITECTURAL PRECEDENT
BURIAL CUSTOMS OF THE VIKING AGE NORSE FUNERALS- A PART OF NORWEGIAN HISTORY
ĞĂƚŚŚĂƐĂůǁĂLJƐďĞĞŶĂĐƌŝƟĐĂůŵŽŵĞŶƚĨŽƌƚŚŽƐĞďĞƌĞĂǀĞĚand consequently death is surrounded by taboo-like rules Family life has to be reorganized and in order to master such ƚƌĂŶƐŝƟŽŶƐƉĞŽƉůĞƵƐĞƌŝƚĞƐdŚĞĐĞƌĞŵŽŶŝĞƐĂƌĞƚƌĂŶƐŝƟŽŶĂůrites that are intended to give the deceased peace in his or ŚĞƌŶĞǁƐŝƚƵĂƟŽŶĂƚƚŚĞƐĂŵĞƟŵĞĂƐƚŚĞLJƉƌŽǀŝĚĞƐƚƌĞŶŐƚŚfor the bereaved to carry on with their lives
Despite the warlike customs of the Vikings there was an element of fear surrounding death and what belonged to it If the deceased was not buried and provided for properly he ŵŝŐŚƚŶŽƚĮŶĚƉĞĂĐĞŝŶƚŚĞĂŌĞƌůŝĨĞdŚĞĚĞĂĚƉĞƌƐŽŶĐŽƵůĚthen visit the bereaved as a ghost or even a dragon
ƚǁĂƐĐŽŵŵŽŶƚŽůĞĂǀĞŐŝŌƐǁŝƚŚƚŚĞĚĞĐĞĂƐĞĚŽƚŚŵĞŶand women received grave goods even if the corpse was to be burnt on a pyre A Norseman could also be buried with a loved one or house thrall (servant) who were buried alive with the person or in a funeral pyre The amount and the value of the goods depended on which social group the dead person came from It was important to bury the dead in the ƌŝŐŚƚǁĂLJƐŽƚŚĂƚŚĞĐŽƵůĚũŽŝŶƚŚĞĂŌĞƌůŝĨĞǁŝƚŚƚŚĞƐĂŵĞsocial standing that he had in life and to avoid becoming a homeless soul that wandered eternally
The usual grave for a thrall or servant was probably not much more than a hole in the ground He was probably buried in such a way as to ensure both that he did not return to haunt ŚŝƐŵĂƐƚĞƌƐĂŶĚƚŚĂƚŚĞĐŽƵůĚďĞŽĨƵƐĞƚŽŚŝƐŵĂƐƚĞƌƐĂŌĞƌƚŚĞLJĚŝĞĚ^ůĂǀĞƐǁĞƌĞƐŽŵĞƟŵĞƐƐĂĐƌŝĮĐĞĚƚŽďĞƵƐĞĨƵůin the next life A free man was usually given weapons and ĞƋƵŝƉŵĞŶƚĨŽƌƌŝĚŝŶŐŶĂƌƟƐĂŶƐƵĐŚĂƐĂďůĂĐŬƐŵŝƚŚĐŽƵůĚƌĞĐĞŝǀĞŚŝƐĞŶƟƌĞƐĞƚŽĨƚŽŽůƐtŽŵĞŶǁĞƌĞƉƌŽǀŝĚĞĚǁŝƚŚƚŚĞŝƌũĞǁĞůƌLJĂŶĚŽŌĞŶǁŝƚŚƚŽŽůƐĨŽƌĨĞŵĂůĞĂŶĚŚŽƵƐĞŚŽůĚĂĐƟǀŝƟĞƐdŚĞŵŽƐƚƐƵŵƉƚƵŽƵƐsŝŬŝŶŐĨƵŶĞƌĂůĚŝƐĐŽǀĞƌĞĚso far is the Oseberg ship burial which was for a woman (probably a queen) who lived in the 9th century
- THE OSEBERG SHIP IS A VIKING SHIP BUILT IN THE SOUTHWEST PART OF NORWAY IN THE YEAR 820 AND FOUND IN THE OSEBERG MOUND NEAR TOslashNSBERG IN VESTFOLD IN 1903 ONLY AN HOUR DRIVING AWAY FROM THE CHOSEN SITE IN SARPSBORG THE MOUND WAS EXCAVATED IN THE SUM-MER OF 1904 UNDER THE LEADERSHIP OF PROFESSOR GABRIEL GUSTAFSON
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
PHASE 1
SITE ANALYSIS amp CONCEPT DEVELOPMENT
-
ŶĂĐŽŵƉůĞƚĞĂŶĚƐƵĐĐĞƐƐĨƵůǁŽƌŬƚŚĞƌĞĂƌĞŚŝĚĚĞŶŵĂƐƐĞƐŽĨŝŵƉůŝĐĂƟŽŶƐĂǀĞƌŝƚĂďůĞǁŽƌůĚǁŚŝĐŚƌĞǀĞĂůƐŝƚƐĞůĨƚŽƚŚŽƐĞǁŚŽŵŝƚŵĂLJĐŽŶĐĞƌŶͲǁŚŝĐŚŵĞĂŶƐƚŽƚŚŽƐĞǁŚŽĚĞƐĞƌǀĞŝƚ
ͲgtĞŽƌďƵƐŝĞƌ EĞǁtŽƌůĚŽĨ^ƉĂĐĞ
12
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
EXISTING SITE
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21)
238o 122o
1
2
3
4
5
6
50 m
100
200
7 8
58o
0o
SITE INFORMATION
- LOCATION SARPSBORG NORWAY
- POPULATION 55 000
- AREA TUNE LAKE TUNEVANNET - MAIN SITE 2100 m2
ϮϮϲϬϬŌ2)
- AREA OF INTEREST 65 000 m2
ϳϬϬϬϬϬŌ2)
The city of Sarpsborg was founded in 1016 by Saint Olav the Viking King ǁŚŽŚƌŝƐƟĂŶŝnjĞĚEŽƌǁĂLJ
13
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
AREA OF INTEREST MAIN SITE WALKING RUNNING PATH WALKING PATH SMALLER TRAILS
MAIN CIRCULATION
14
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
1 = TUNE CHURCH amp CEMETERY (1910) 2 = SARPSBORG CREMATORIUM CHAPEL amp CEMETERY (1960) 3 = HAFSLUND CHURCH amp CEMETERY (1891) = DOWN TOWN AREA
n
n
SITE
MOSS OSLO
GRAringLUM
SARPSBORG
SARPSBORG
SARPSBORG
HAFSLUND
FREDRIKSTAD
HALDEN SWEDEN
1
3
n2
OLDER CEMETERIES IN THE SURROUNDING AREA
15
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
1 = PARKING2 = PUBLICH BEACH DOCK3 = DOCK4 = DOCK VIEWING POINT5 = OPEN SPACE FOR PUBLIC BONFIRE6 = GRASS HILL (USED FOR PERFORMANCE)7 = SOCCER AREA GRASS FIELD8 = PARKING + = 23 PEOPLE + CIRCULATION PATH
= PARK PARKING
= SHAFTS OF SPACE
50 m
100
200
SUN PATH(JULY 21) 322o
SUN PATH(DECEMBER 21) 238o 122o
58o
0o
EXISTING SITE ACTIVITY
A
A
B
B
16
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
30 m
25 m
70 m
MAIN SITE
MAIN SITE
SECTION A-A
SECTION B-B
17
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- WITH ALL THE 4 SEASONS BEING VERY DIFFERENT IN SARPSBORG NORWAY THE SITE CHANGES CONSTANTLY THROUGH OUT THE YEAR THIS PICTURE WAS TAKEN IN LATE SEPTEMBER 2013
18
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- LATE SEPTEMBER 2013 MY MOTHER APPROACHING THE MAIN SITE IN THE HEART OF THE PARK FROM THE WEST SURROUNDED BY MORE THAN 750 LARGE PINE TREES
19
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- LATE SEPTEMBER 2013 TWO OLD NATURAL STONE PIERS BY THE WATERFRONT TOWARDS THE WEST THESE WERE REPLACED BY NEW PIERS FOR FISHING DURING THE SUMMER OF 2014
20
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- LATE SEPTEMBER 2013 PATHWAY LEADING OUT FROM THE HEART OF THE PARK TOWARDS THE NORTH AND THE BONFIRE SPACE BY THE WATERFRONT
21
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- DECEMBER 2013 WITH FREEZING TEMPERATURES THROUGH SEVERAL MONTHS OF THE YEAR THE LAKE FREEZES AND THE PARK IS COVERED IN SNOW THE LIGHT IS FLAT THERE ARE FEW COLORS IF ANY AND THE SUN SETS AROUND 3 PM
22
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- DECEMBER 2013 TUNE CHURCH amp CEMETERY (BUILT IN 1910) SITS ON A SMALL HILL TO THE SOUTH OF THE LAKE AND THE PARK ITrsquoS 2 PM AND THE SUNSET HAS STARTED
23
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- DECEMBER 2013 THE LAKE STRECHES OUT TOWARDS THE NORTH WITH HILLS OF PINE TREES SURROUNDING THE OVERALL AREA AN OLD BONFIRE PLACE IS FRAMED BY LARGE ROCKS SIMILAR TO OLD VIKING BURIAL TRADITIONS
24
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- MIDDLE OF JULY 2014 EVEN THOUGH THE SUMMER WAS VERY DRY WITH LESS RAIN THAN USUAL THE AREA IS VERY GREEN EVERY YEAR IN THE MIDDLE OF JUNE THE BONFIRE AREA IS USED BY A LARGE GROUP OF LOCALS TO CELEBRATE THE LIGHTEST DAY OF THE YEAR WITH A LARGE BONFIRE
25
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- MIDDLE OF JULY 2014 THE THICK GREEN BIRCH AND PINE TREES CAST LARGE SHADOWS AS THE SUN TRIES TO PENETRATE THE CANOPIES THE PATHWAY IS POPU-LAR FOR RUNNERS IN THE SUMMERX
26
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
- MIDDLE OF JULY 2014 MY BROTHER WALKS NORTH ON THE WEST SIDE OF THE PARK BENCHES ARE STRATEGICALLY PLACED FOR RECREATION AND VIEWS
27
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
1 = 22 mi 35 km
21
3
TUNE LAKE amp SURROUNDING AREA
28
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE PRESENCE OF ABSENCE ndash A SENSE OF PLACE
Cemeteries are or should be for the living ndash for those mourn-ing over the loss of their loved ones When someone dies you sense a presence of absence therersquos a lack of something fa-miliar As one mourns over the loss of a loved one one should allow the presence of absence to manifest
Deserts are one of the most extreme and empty parts of ŶĂƚƵƌĞŝƚ ƐĞŵƉƚLJ ďƵƚƚŚĞƌĞ ƐƚŽƉŽŐƌĂƉŚLJ ŶƐƵĐŚĂŶĞŶǀŝ-ronment one will feel the presence of absence because of the ůĂĐŬŽĨŬŶŽǁŶĞůĞŵĞŶƚƐKŶĞƐƚĂƌƚƐƚŽƐĞŶƐĞƚŚĞĨĞǁĞƐƐĞŶƟĂůelements present as a breeze hits the body with a gentle touch or the bright sun light makes your eyes squint You ask yourself whatrsquos on the other side of that sand dune what lies ŝŶƚŚŝƐĚŝƌĞĐƟŽŶĂŶĚǁŚĂƚǁŝůůĞdžƉĞƌŝĞŶĐĞĂŶĚǁŚĂƚǁŝůůŵŝƐƐŝĨǁĂůŬŝŶĂŶŽƚŚĞƌĚŝƌĞĐƟŽŶƚ ƐĂƐƉĂĐĞǁŝƚŚĐŚĂƌĂĐƚĞƌ ƚ Ɛmysterious The presence of absence creates a sense of place
dŚĞƐĞŶƐĞŽĨƉůĂĐĞŝƐĂĐŽŵďŝŶĂƟŽŶŽĨĐŚĂƌĂĐƚĞƌŝƐƟĐƐƚŚĂƚŵĂŬĞƐĂĐŽŶĚŝƟŽŶƐƉĞĐŝĂůĂŶĚƵŶŝƋƵĞ^ĞŶƐĞŽĨƉůĂĐĞŝŶǀŽůǀĞƐthe human experience in a landscape the local knowledge ĂŶĚĨŽůŬůŽƌĞƚĂůƐŽŐƌŽǁƐĨƌŽŵŝĚĞŶƟĨLJŝŶŐŽŶĞƐĞůĨŝŶƌĞůĂƟŽŶƚŽĂƉĂƌƟĐƵůĂƌƉŝĞĐĞŽĨůĂŶĚŽŶƚŚĞƐƵƌĨĂĐĞŽĨƉůĂŶĞƚĂƌƚŚA sense of place results gradually and unconsciously from ŝŶŚĂďŝƟŶŐĂůĂŶĚƐĐĂƉĞŽǀĞƌƟŵĞďĞĐŽŵŝŶŐĨĂŵŝůŝĂƌǁŝƚŚŝƚƐƉŚLJƐŝĐĂůƉƌŽƉĞƌƟĞƐŽŶĚŝƟŽŶƐƚŚĂƚĞdžŚŝďŝƚĂƐƚƌŽŶŐƐĞŶƐĞŽĨƉůĂĐĞŚĂǀĞĂŶŝĚĞŶƟƚLJĂŶĚĐŚĂƌĂĐƚĞƌƌĞĐŽŐŶŝnjĞĚŝŵŵĞĚŝĂƚĞůLJby a visitor and is valued deeply by its target group and users
SITE STUDY - A SENSE OF PLACE
29
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
SITE ANALYSIS + MAPPING
dŽƌĞĂůůLJƵŶĚĞƌƐƚĂŶĚƚŚĞƐƉĂƟĂůƋƵĂůŝƟĞƐŽĨƚŚĞďĞĂƵƟĨƵůƐŝƚĞŝƚďĞĐĂŵĞĐƌƵĐŝĂůƚŽĂŶĂůLJnjĞĞǀĞƌLJůŝƩůĞƉĂƌƚŽĨƚŚĞŵŽƌĞƚŚĂŶϲϱϬϬϬŵ2ϳϬϬϬϬϬŌ2) area of interest The 800 + pine and birch trees became an important factor for the overall understanding of zones and openings on the site At 60o ŶŽƌƚŚ^ĂƌƉƐďŽƌŐEŽƌǁĂLJͿƚŚĞƐƵŶ ƐƉĂƚŚŝƐĞdžƚƌĞŵĞůLJĚŝīĞƌĞŶƚŝŶƚŚĞƐƵŵŵĞƌǁŝƚŚdays that can seem endless compared to the winter with only a few hours of natural day light at its most extreme Therefore it was only natural to study the sunrsquos path and where it sets ĐŽŵďŝŶĞĚǁŝƚŚĐĞƌƚĂŝŶĚŝƌĞĐƟŽŶƐĂŶĚŶĂƚƵƌĂůŽƉĞŶŝŶŐƐďĞƚǁĞĞŶƚŚĞƚƌĞĞƐƚŽďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŚŽǁĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƉƌŽŐƌĂŵĐŽƵůĚďĞĮƩĞĚǁŝƚŚŝŶƚŚĞƐŝƚĞ
800 (+) TREES HOW MANY OPPORTUNITIES A FAMILIAR PATTERN THE TREES AS A NETWORK OF STARS
30
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
EXISTING PATHS amp TRAILS LEADING TO- AND AROUND THE MAIN AREA OF INTEREST IN THE HEART OF THE PARK THE DASHED LINES SHOWS A FOOTPRINT FOLLOWING THE TREE TRUNKS OUTLINING THE AREA
THERE IS NO GIVEN WAY TO WALK ON THE SITE - PATHWAYS CAN LEAD ANYWHERE LIKE VANES AND ARTERIES TO THE HEART PATHWAYS FROM THE MAIN AREA OF INTEREST SPREAD OUT AROUND THE MANY TREES IN THE PARK
31
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE TREES CAN BE GROUPED - OPEN ZONES REVEALS NEW OPPORTUNITIES BACK TO THE STARS AND THE UNIVERSE OPEN ZONES AND GROUPS OF TREES BECOME STAR CLOUDS
32
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
HYBRID CLOUDS ARE ADDED TO THE FULL NETWORK OF PATHWAYS MORE OPPORTUNITIES ARE REVEALED THE SITE AS A LIVING NETWORK LIKE THE DECEASED - THE MAIN SITE IS IN THE CENTER OF ATTENTION
33
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
SUMMER SUN PATH
WINTER SUN PATH
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
34
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
STRAIGHT LINES FOLLOWING THE OUTLINED FOOTPRINT OF THE MAIN SITE
SUMMER SUN PATH
WINTER SUN PATH
THE MAIN SITErsquoS NATURAL FOOTPRINT LINES UP WITH THE TWO EXTREMES OF THE SUNSET DURING A YEAR
35
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
N
30o
60o
The rare covincedent of the main sitersquos footprint matching up with the earliest and the latest sunset of the year was too good not to use in fur-ther stages of the site studies The two angels (30o and 60o) together with the 90oĂŶŐĞůĚŝƌĞĐƟŶŐŶŽƌƚŚĂůƐŽĐƌĞĂƚĞƐĂǁĞůůŬŶŽǁŶƚƌŝĂŶŐůĞŽŌĞŶƵƐĞĚŝŶĚŝīĞƌĞŶƚĐŽŵďŝŶĂƟŽŶƐŽĨƚŚĞŽůĚĞŶZĂƟŽĂŶĚĚƌĂǁŝŶŐƚŚĞŽůĚ-ĞŶ^ĞĐƟŽŶdŚĞĚŝƌĞĐƟŽŶƐŚĞůƉĞĚŐĂƚŚĞƌŝŶŐƚŚĞƐŝƚĞƚŽĐŽŵƉůĞƚĞĂĨƵůůLJŝŶƚĞƌĐŽŶŶĞĐƚĞĚƐLJƐƚĞŵŽĨƐƉĂĐĞƐĂŶĚƉƌŽŐƌĂŵƚŽǁĂƌĚƐƚŚĞĮŶĂůĚĞƐŝŐŶ
BY FILLING IN THE OPEN AREAS OF THE PARK ONLY USING THE CHOSEN ANGELS 30o 60o AND 90o THE SITE GOT ITS OWN KZE^z^dDKampdWZ^EKamp^E
36
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
PRECENCE OF ABSENCE + DIRECTIONS
37
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
PRECENCE OF ABSENCE + ZONES
38
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CONTROL OF THE FOREST
39
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
GOLDEN RATIO + FINAL ZONES amp DIRECTIONS
40
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
PHASE 2
DESIGN CONCEPT-
ĨLJŽƵĐĂŶƚĞdžƉůĂŝŶŝƚƚŽĂƐŝdžͲLJĞĂƌŽůĚLJŽƵĚŽŶƚƵŶĚĞƌƐƚĂŶĚŝƚLJŽƵƌƐĞůĨ
ͲůďĞƌƚŝŶƐƚĞŝŶ
41
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE KUumlBLER-ROSS MODEL
dŚĞltƺďůĞƌͲZŽƐƐŵŽĚĞůŽƌƚŚĞĮǀĞƐƚĂŐĞƐŽĨŐƌŝĞĨ ŝƐĂƐĞƌŝĞƐŽĨĞŵŽƟŽŶĂůƐƚĂŐĞƐĞdžƉĞƌŝĞŶĐĞĚǁŚĞŶĨĂĐĞĚǁŝƚŚŝŵƉĞŶĚŝŶŐĚĞĂƚŚŽƌĚĞĂƚŚŽĨƐŽŵĞŽŶĞdŚĞĮǀĞƐƚĂŐĞƐĂƌĞĚĞŶŝĂůĂŶŐĞƌ bargaining depression and acceptance
dŚĞŵŽĚĞůǁĂƐĮƌƐƚŝŶƚƌŽĚƵĐĞĚďLJŵĞƌŝĐĂŶWƐLJĐŚŝĂƚƌŝƐƚElisabeth Kuumlbler-Ross in her 1969 book On Death and Dying ĂŶĚǁĂƐŝŶƐƉŝƌĞĚďLJŚĞƌǁŽƌŬǁŝƚŚƚĞƌŵŝŶĂůůLJŝůůƉĂƟĞŶƚƐDŽƟǀĂƚĞĚďLJƚŚĞůĂĐŬŽĨĐƵƌƌŝĐƵůƵŵŝŶŵĞĚŝĐĂůƐĐŚŽŽůƐŽŶthe subject of death and dying Kuumlbler-Ross began a project which examined death and those faced with it while working as an instructor at the University of Chicagorsquos medical school Kuumlbler-Rossrsquo project evolved into a series of seminars which ĂůŽŶŐǁŝƚŚƉĂƟĞŶƚŝŶƚĞƌǀŝĞǁƐĂŶĚƉƌĞǀŝŽƵƐƌĞƐĞĂƌĐŚďĞĐĂŵĞƚŚĞĨŽƵŶĚĂƟŽŶĨŽƌŚĞƌŬĂŶĚƌĞǀŽůƵƟŽŶŝnjĞĚŚŽǁƚŚĞh^ŵĞĚŝĐĂůĮĞůĚƚĂŬĞƐĐĂƌĞŽĨƚŚĞƚĞƌŵŝŶĂůůLJŝůůŶƚŚĞĚĞĐĂĚĞƐƐŝŶĐĞƚŚĞƉƵďůŝĐĂƟŽŶŽĨKŶĞĂƚŚĂŶĚLJŝŶŐ ƚŚĞltƺďůĞƌͲZŽƐƐconcept has become largely accepted by the general public however its validity has yet to be consistently supported by the majority of research studies that have examined it
Elisabeth Kuumlbler-Ross noted that the stages are not meant to ďĞĂĐŽŵƉůĞƚĞůŝƐƚŽĨĂůůƉŽƐƐŝďůĞĞŵŽƟŽŶƐƚŚĂƚĐŽƵůĚďĞĨĞůƚand they can occur in any order Her hypothesis holds that not everyone who experiences a life-threatening or life-altering ĞǀĞŶƚĨĞĞůƐĂůůĮǀĞŽĨƚŚĞƌĞƐƉŽŶƐĞƐĚƵĞƚŽƌĞĂĐƟŽŶƐŽĨƉĞƌƐŽŶĂůůŽƐƐĞƐĚŝīĞƌŝŶŐďĞƚǁĞĞŶƉĞŽƉůĞ A MODEL STUDY SHOWING STAGES OF GRIEF IN PHYSICAL FORM ACCEPTANCE (LEFT) AND ANGER (RIGHT)
42
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
A STUDY MODEL SHOWING A SEQUENCE OF SPACES WITH THE DIFFERENT QUALITIES OF THE KUumlBLER-ROSS STAGES OF GRIEF
DENIAL- Enclosed
ANGER- Explosion
BARGAINING- ldquoTake me backrdquo
DEPRESSION- Collapse Falling
ACCEPTANCE- Moving forward
43
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
STUDIES IN SECTION
SECTION STUDY WITH AN EMPHASIS ON THE ALREADY STUDIED DIRECTIONS OF THE SITE AND THE STAGES OF GRIEF AS A SEQUENCE AN EARLY INTEREST TO USE THE LANDSCAPE AS A PART OF THE ARCHITECTURAL EXPRESSION RELATED TO THE MISSION STATEMENT OF GETTING CLOSER TO NATURE
44
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE INDIVIDUAL EXPERIENCE OF THE ARCHITECTURAL SPACES IS IMPORTANT TO DEFINE AS PEOPLE WILL USE THESE SPACES FOR PERSONAL MOURNING AND RECREATION
45
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE GLACIER CONCEPT
tŚŝůĞƐƚƵĚLJŝŶŐƚŚĞĚŝīĞƌĞŶƚĐŽŶĚŝƟŽŶƐĂŶĚŵĂƚĞƌŝĂůƐŽĨƚŚĞsite it became natural to look into its history The site sits on a bed of granite wich is the main bedrock throughout south-east of Norway towards Sweden The granite being a ǀĞƌLJƐƚƌŽŶŐŬŝŶĚŽĨƌŽĐŬǁĂƐƉƌĞƩLJŵƵĐŚƚŚĞŽŶůLJƚŚŝŶŐůĞŌŝŶƚŚĞƐĞƉĂƌƚƐŽĨEŽƌǁĂLJĂŌĞƌƚŚĞůĂƐƚŐůĂĐŝĂůŝĐĞĂŐĞͲĂƐƚŚĞglaciers had polished the grounds for thousands of years
The glaciers during this period had just reached the exact area of the site and the surrounding area of Sarpsborg when ŝƚƐƚĂƌƚĞĚƚŽƌĞƚƌĂĐƚĂŶĚƚŚĞŐůĂĐŝĂůƉĞƌŝŽĚƐƚĂƌƚĞĚƚŽǁĞĂƌŽīabout 11 500 years ago As the glaciers moved in a certain ĚŝƌĞĐƟŽŶƚŚĞLJǁŽƵůĚƉƵƐŚŶĂƚƵƌĞ ƐƐƵƌĨĂĐĞĞůĞŵĞŶƚƐŝŶfront of them (rock gravel clay) called moraine As a result the park is part of a longer hill side wich is a direct link and ƚƌĂĐĞŽĨĂŐůĂĐŝĞƌ dŚĞƐŝƚĞ ƐŚŝƐƚŽƌLJĂŶĚůŝŶŬƚŽĂůŝǀŝŶŐĂŶĚmoving glacier thousands of years ago intriged to more studies of glaciers and their behaviour With the main task ďĞŝŶŐƚŽĐƌĞĂƚĞĂŶĞǁĂŶĚďĞƩĞƌǁĂLJŽĨŵŽƵƌŶŝŶŐĨŽƌƚŚĞdead it is hard not to take the massive trace of the past into ĐŽŶƐŝĚĞƌĂƟŽŶĂƐĂŵĞĂŶŝŶŐĨƵůƉĂƌƚŽĨƚŚĞƐŝƚĞĂŶĚƚŚĞƐŝƚĞ Ɛlife itself Not only was the glacier symbolic for the site but also for Norway as a country Norway is well known for its ůĂŶĚƐĐĂƉĞĮůůĞĚďLJĚĞĞƉłŽƌĚƐŶĞdžƚƚŽƌŽĐŬLJŵŽƵŶƚĂŝŶƐͲĂůůshaped by glaciers
ůĂĐŝĞƌƐŵŽǀĞŽƌŇŽǁĚŽǁŶŚŝůůĚƵĞƚŽŐƌĂǀŝƚLJĂŶĚƚŚĞŝŶƚĞƌŶĂůĚĞĨŽƌŵĂƟŽŶŽĨŝĐĞĐĞďĞŚĂǀĞƐůŝŬĞĂďƌŝƩůĞƐŽůŝĚƵŶƟůŝƚƐƚŚŝĐŬŶĞƐƐĞdžĐĞĞĚƐĂďŽƵƚϱϬŵϭϲϬŌͿdŚĞƉƌĞƐƐƵƌĞŽŶŝĐĞĚĞĞƉĞƌƚŚĂŶϱϬŵĐĂƵƐĞƐƉůĂƐƟĐŇŽǁƚƚŚĞŵŽůĞĐƵůĂƌůĞǀĞůŝĐĞĐŽŶƐŝƐƚƐŽĨƐƚĂĐŬĞĚůĂLJĞƌƐŽĨŵŽůĞĐƵůĞƐǁŝƚŚƌĞůĂƟǀĞůLJǁĞĂŬbonds between layers When the stress on the layer above exceeds the inter-layer binding strength it moves faster than the layer below
Glaciers also move through basal sliding In this process a glacier slides over the terrain on which it sits lubricated by the presence of liquid water The water is created from ice ƚŚĂƚŵĞůƚƐƵŶĚĞƌŚŝŐŚƉƌĞƐƐƵƌĞĨƌŽŵĨƌŝĐƟŽŶĂůŚĞĂƟŶŐĂƐĂůsliding is dominant in temperate or warm-based glaciers
Glaciers are the largest source of fresh water on the planetEver since humans have been arround nothing has done more than glaciers to shape our worldThey have been carving the landscape causing disasters and ĞǀĞŶĐŚĂŶŐĞƚŚĞĐŽƵƌƐĞŽĨŚƵŵĂŶĞǀŽůƵƟŽŶtŝƚŚŐůŽďĂůwarming glaciers may also threaten our future
THE PICTURE ABOVE SHOWS HOW LARGE PARTS OF OUR PLANET WAS COVERED BY ICE AND GLACIERS DURING THE LAST GLACIAL PERIOD POPULARLY KNOWN AS THE ICE AGE
GLACIERS ARE BUILT UP BY TINY ICE-CRYSTALS OR SNOW ALL ICE-CRYSTALS ARE UNIQUE IN FORM THE GLACIERS GET A NEW LAYER OF SNOW EVERY YEAR
46
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
GLACIERS MOVE AND GOT A CERTAIN DIRECTION LIKE LIFE IT MOVES FORWARD AND PULLS BACK (DIES) WHEN IT MELTS LEAVING THE MORAINE OR THE FJORDS AS TRACES AND MEMORIES OF WHAT ONCE WAS THERE
GLACIERS + MORAINE = ON TOP OF THE SURFACE GLACIERS + FJORDS = SUBSTRACTED FROM THE SURFACE
47
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CONCEPTUAL SITE SECTIONS
THE SECTIONS WERE MADE TO UNDERSTAND GLACIAL CARVING OF THE LANDSCAPE WITH A SENSE OF DIRECTION IN AN ARCHITECTONIC WAY ^dKE^dͲt^dKsͿ
48
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
APPROACHING THE BUILDING(S) THROUGH LARGE CUTS IN THE LANDSCAPE BECAME AN IDEA AFTER LOOKING INTO THE FJORDS AS TRACES FROM THE GLACIERS ^dKEEKZdͲ^KhdKsͿ
49
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CONCEPTUAL SKETCHES SHOWING THE BEHAVIOUR OF THE GLACIER CUTTING THE LANDSCAPE AND BECOMING A PART OF THE SITE AND ITS SURROUNDING ELEMENTS
50
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CONCEPTUAL PROGRAM MATRIX VOLUMES amp AREAS OF INTEREST
RECREATION
CEMETERY
REPAST AREA
FUNERAL SPACEamp CREMATORIUM
51
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CONCEPTUAL PERSPECTIVES
THESE PERSPECTIVES ARE SHOWING THE FIRST ATTEMPTS OF PUTTING THE PROGRAM WITHIN THE LANDSCAPE AND PARTIALLY BELOW SURFACE LEVEL THE MAIN FUNERAL SPACES ARE SITED ON ONE SIDE AND THE CREMATORIUM ON THE OTHER SIDE WITHIN A LARGE CUT THE CUT - LIKE A FJORD SYMBOLIZES THE TRACE OF A GLACIER AND LETS THE USER BECOME ONE WITH NATURE AND THE SITE - CREATING A SENSE OF PLACE
52
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
53
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
PHASE 3
DEFINED CONCEPT amp FINAL DESIGN
-
ĞůůWƵƌŐĂƚŽƌLJĂŶĚWĂƌĂĚŝƐĞĂƌĞŶŽƚĐůĞĂƌůLJĚĞĮŶĞĚƐƉĂĐĞƐƚŚĞLJĂƌĞŶŽŶͲƐƉĂĐĞƐ
ͲdŚŽŵĂƐ^ĐŚƵŵĂĐŚĞƌ dĞƌƌĂŐŶŝƐĂŶƚĞƵŵ
54
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
ANOTHER LOOK AT THE GLACIERS
ĐůĞĂƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨƚŚĞƐŝƚĞŝƚƐĐŽŶĚŝƟŽŶƐƐŚĂŌƐŽĨƐƉĂĐĞĂŶĚĐŝƌĐƵůĂƟŽŶŚĞůƉĞĚĚĞĮŶŝŶŐƚŚĞŵŽƐƚŶĂƚƵƌĂůĂƌĞĂƐƚŽƉůĂĐĞƚŚĞĚŝīĞƌĞŶƚƉƌŽŐƌĂŵĐŽŵƉŽŶĞŶƚƐLJƵƐŝŶŐƚŚĞŵŽƐƚĐŽŶĐůƵƐŝǀĞĚŝƌĞĐƟŽŶƐŽŶƚŚĞƐŝƚĞĨŽůůŽǁŝŶŐƚŚĞƚĞƌƌĂŝŶĂŶĚŶĂƚƵƌĂůůŝŐŚƚĂůƐŽŚĞůƉĞĚƚŽĐůĞĂƌŝĨLJƚŚĞĮƌƐƚĚĞƐŝŐŶƐƚĂŐĞƐŶĚƚŚĞďĞŚĂǀŝŽƵƌŽĨŐůĂĐŝĞƌƐĂƐĂƐLJŵďŽůŝĐĐŽŶĐĞƉƚďĞĐĂŵĞĐůĞĂƌƚŚƌŽƵŐŚĐŽŶĐĞƉƚƵĂůƐĞĐƟŽŶƐĂŶĚƉůĂŶƐƵƚƚŽĚĞƐŝŐŶƚŚĞĚŝīĞƌĞŶƚďƵŝůĚŝŶŐƐĂŶĚĚĞĐŝĚĞŚŽǁƚŚĞLJĐŽŶŶĞĐƚĞĚǁŝƚŚĞĂĐŚŽƚŚĞƌŽŶƚŚĞƐŝƚĞǁĂƐŚĂƌĚƚŽƚĂŬĞĨƌŽŵƉƌĞǀŝŽƵƐƐƚƵĚŝĞƐďĞƩĞƌƵŶĚĞƌƐƚĂŶĚŝŶŐŽĨǁŚĂƚĨŽƌŵƐƚŚĞĚŝīĞƌĞŶƚƐƉĂĐĞƐĐŽƵůĚƚĂŬĞŽŶĂŶĚǁŚĂƚŵĂƚĞƌŝĂůƐƚŚĂƚĐŽƵůĚǁŽƌŬǁŝƚŚƚŚĞĚŝīĞƌĞŶƚĨƵŶĐƟŽŶƐůŝŶŬĞĚƚŽƚŚĞĐŽŶĐĞƉƚǁĂƐĐƌƵĐŝĂůĨŽƌĨƵƌƚŚĞƌĚĞƐŝŐŶĚĞǀĞůŽƉŵĞŶƚ
ĐůŽƐĞƌůŽŽŬĂƚƚŚĞĐŽŶĐĞƉƚŽĨƚŚĞŐůĂĐŝĞƌƌĞǀĞĂůĞĚŵŽƌĞŝŶĨŽƌŵĂƟŽŶĂŶĚŽƚŚĞƌŽƉƉŽƌƚƵŶŝƟĞƐdŽĐƌĞĂƚĞĂƐƉŝƌŝƚƵĂůĨƵŶĞƌĂůƐƉĂĐĞŽĨŐƌĞĂƚŵĞĂŶŝŶŐƚŽĂŶLJŽŶĞƵƐŝŶŐŝƚŝƚŶĞĞĚĞĚŐƌĞĂƚƋƵĂůŝƚLJŽĨƐŽŵĞƐŽƌƚƐƚŚĞŐůĂĐŝĞƌƐĐŽŶƟŶƵĞĚƚŽĨĂƐĐŝŶĂƚĞƚŚƌŽƵŐŚƚŚĞĚĞƐŝŐŶƉƌŽĐĞƐƐŝƚǁĂƐŽŶůLJŶĂƚƵƌĂůƚŽƐƚƵĚLJĂůůƚŚĞƋƵĂůŝƟĞƐŽĨƚŚĞŵƚŚƌŽƵŐŚĚĞƐŝŐŶdŚĞŐůĂĐŝĞƌƐĂŶĚƚŚĞŝƌƐŚĂƉĞƐƌĞǀĞĂůĞĚĞŶĚůĞƐƐƉŽƐƐŝďŝůŝƟĞƐǁŝƚŚůŝŐŚƚĂŶĚƐƉĂĐĞdŚĞŝĐĞƚŚĞŵĞůƟŶŐƚŚĞƐŶŽǁƚŚĞĚĂƌŬƐƵƌĨĂĐĞƐƚŚĞůŝŐŚƚƐƵƌĨĂĐĞƐƚŚĞŚĞĂǀŝŶĞƐƐƚŚĞůŝŐŚƚŶĞƐƐͲĂůůĐŽŶƐƚĂŶƚůLJĐŚĂŶŐŝŶŐampƵƌƚŚĞƌƐƚƵĚŝĞƐĨŽĐƵƐŝŶŐŽŶĨƵƐŝŶŐƚŚĞƐĞĞůĞŵĞŶƚƐǁŝƚŚĨƵŶĐƟŽŶĂůĂŶĚƐƚƌƵĐƚƵƌĂůĐŽŵƉŽŶĞŶƚƐŽĨĂƌĐŚŝƚĞĐƚƵƌĞďĞĐĂŵĞƚŚĞůĂƐƚƐƚĂŐĞƚŽǁĂƌĚƐĂĮŶĂůĚĞƐŝŐŶ
EEdZ^dampKZdKZE^W^s^dZampKZDt^sKltampZKDd^dhzEKampgtZ^
55
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
LIGHT amp SHAPE
56
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
DKgt^dh^Ͳgtd ^WΘgtzZ^
DKgt^dhztKZltEtddZE^WZEz KE^dZhdKEDgtdEEgtzZ^
DKgt^dhztKZltEtdgtd DdZgt^ZdKEE^YhEE^WZzDKEdhgt^hͿ
57
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
ZzgtWEdEgtzZ^KampampampZEdKgtKZ^h^dK^dhzdZsEKamphdͲ^dgtZ^EdampKZ^
58
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
gtzZ^dhztKZltEtdampampZEdltE^KamptKKdKZWZ^EddDKZE^EZddhZgtDdZgt
59
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
gtdEgtzZ^dhzKEEs^
60
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
KEWdhgtamphEZgt^W^ltd^gtZZsEdZKhdgtE^W
61
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
GLACIER TRANSPARENT TRANSLUCENT
MATERIALITY
A MIX OF NATURErsquoS SURFACE ELEMENTS
GRANITE SOLID
MORAINE
BEDROCK
MATERIALITY
dZDt^Zd^E^dZdampKZamphZdZEs^ddKEEDdZgt^h^EdKEWdKampdgtZEd^d^^dKZzampKZdWZKd^hgtdEsZKEDEd
62
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
DESIGN PROCESS
AS THE BUILDING DESIGN SLOWLY STARTED TO MAKE SENSE THROUGH CIRCULATION AND PROGRAM THE MATERIALS AND MAIN STRUCTURE MAINTAINED HARD TO CONNECT TO THE GREAT GLACIER AND AND THE NATURAL LIGHT WANTED INSIDE THE BUILDING THE RIGHT SPATIAL FEELING WANTED WAS NOT THERE YET
63
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE SOLUTION FOR THE MAIN WALL SYSTEM BECAME TO BREAK UP THE HEAVY CONCRETE WALLS FROM EARLIER MODEL STUDIES IN STEAD OF CREATING OPENINGS IN THE WALLS OR THE CEILING LIKE WINDOWS THE WALL AND CEILING SYSTEM WOULD WORK TOGETHER AS A LARGER NETWORK OF THOUSANDS OF SMALLER OPENINGS IN THIS WAY THE STRUCTURE WILL FEEL AS OPEN AS IT IS WORKING LIKE A SHELTER AT THE SAME TIME THE PATTERN WAS INSPIRED BY DRIPPING WATER OR THE MELTING OF SNOW OR A GLACIER
OPEN CONCRETE PANELS
64
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
MO
RAIN
E G
LACI
ER
BED
ROCK
PIN
E +
BIRC
HTR
AN
SPA
REN
T CO
NCR
ETE
+ W
HIT
E CO
NCR
ETE
+ G
LASS
GRE
Y G
RAN
ITE
+ G
REY
CON
CRET
E (W
OO
D C
AST
)
THE MATERIAL PALETTE DIAGRAM IS SHOWING THE MAIN MATERIALS USED THROUGH OUT THE ENTIRE PROJECT THE STRUCTURES IN THIS PROJECT WILL HAVE REDUCED MAINTENANCE AND REPLACEMENT COSTS OVER THE BUILDINGSrsquo LIFE SPAN USING LONG LASTING MATERIALS THE BUILDING MATERIALS SYSTEMS AND COMPONENTS ARE FOUND LOCALLY OR REGIONALLY SAVING ENERGY AND RESOURCES IN TRANSPORTATION TO THE PROJECT SITE ALL WOOD USED IN THIS PROJECT IS CERTIFIED AND COMES FROM RESPONSIBLY MANAGED NORWEGIAN FORESTS THE MATERIALS ARE ALSO MANUFACTURED WITH RESOURCE-EFFICIENT PROCESSES INCLUDING REDUCING ENERGY CONSUMPTION MINIMIZING WASTE (RECYCLED RECYCLABLE AND OR SOURCE REDUCED PRODUCT PACKAGING) AND REDUCING GREENHOUSE GASES
ALL THE MECHANICAL ELECTRICAL AND PLUMBING SYSTEMS WILL BE VERY EFFICIENT WITH EFFECTIVE MECHANICAL SYSTEMS LOW ENERGY LIGHTING SYSTEMS AND HIGH STANDARD ELECTRICAL SYSTEMS ULTRA FLOW PLUMBING SYSTEMS SUCH AS RADIANT SLABS WILL KEEP THE BUILDINGS HEATED DURING THE LONG NORWEGIAN WINTERS
BY USING THE RIGHT HYDRONIC SYSTEMS AND AIR SYSTEMS THE BUILDINGS WILL ACHIEVE AN OPTIMIZED ENVIRONMENT THROUGH THE DIFFERENT SEASONS OF THE YEAR AIR SYSTEMS WILL BE SIZED BASED ON THE AIR COLLECTOR SIZING RECOMMENDATIONS
TO FULFILL EFFICIENT LIGHTING SYSTEMS DAYLIGHT AVAILABILITY DATA WAS USED TO DETERMINE REQUIRED DAYLIGHT FACTORS FOR THE DESIGN OF THE BUILDINGS INTEGRATING NATURAL DAYLIGHT DIMMERS LED AND AUTOMATIC SHUTOFF SYSTEMS WILL MAKE A LOW ENERGY LIGHTING SYSTEM OVERALL
SUSTAINABILITY STRATEGY + MATERIAL PALETTE
65
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
FINAL SITE PLAN
50 m
100 m66
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
FLOOR PLAN PROCESS - FUNERAL SPACE amp CREMATORIUM
67
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CONGREGATION SEATING ORGANIZATION - MAIN FUNERAL SPACE
UNITY DIRECTIONS
SEATS + DIRECTIONSNORTH
SOUTH
RANDOM
SEATS + GOLDEN RATIO
GOLDEN RATIO
NO SEATS
CENTER OF ATTENTIONLESS SEATS
RANDOM + ORGANIZED
FEW SEATS + DIRECTIONS SENSE OF PLACE CENTER OF ATTENTION
UNITY
68
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
A MAN WALKS UNDER THE FLOATING URNS AS THEY ARE INTERCONNECTED WITH THE TREES AND THE NATURE OF THE SITE A CUT SLICES THROUGH THE SITE AS A TRACE OF SOMETHING THAT WAS ONCE THERE A BUILDING RISES AND PUSHES ITS WAY THROUGH THE LANDSCAPE - NOTHING IS FOREVER
69
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
A
A
B
B
C
C
D
D
FUNERAL amp MOURNING SPACES + CREMATORIUM amp OFFICES
SPIRITUAL AREA
1 = MAIN FUNERAL SPACE 2 = SMALLER FUNERAL SPACE 3 = COURTYARD 1 4 = COURTYARD 2 INDUVIDUAL MOURNING SPACE 5 = INDUVIDUAL MOURNING SPACE 1 6 = INDUVIDUAL MOURNING SPACE 2 7 = ENTRANCE
PROFFESIONAL CARE
8 = WAITING HALL RECEPTION 9 = OFFICE 110 = OFFICE 211 = OFFICE 312 = MEETING SPACE13 = MEETING SPACE 2
CREMATORIUM
14 = GARAGE 15 = COLD STORE16 = MECHANICAL17 = CHANGING ROOM STAFF18 = URNS PREPERATION19 = CONTROL ROOM20 = CEREMONY ROOM21 = FURNACE HALL
22 = PUBLIC RESTROOM
1
5
7 8
14
15
16
17
18
19
21
20
22
9
10
11
12
13
6
23
4
70
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
SECTION A-A
71
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
0ELEVATION FUNERAL amp MOURNING SPACES
72
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
-ELEVATION CREMATORIUM MORGUE amp OFFICES
73
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
SECTION D-D
74
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
SECTION B-B SECTION C-C
75
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
76
APPROACHING FUNERAL SPACES amp CREMATORIUM
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
77MAIN FUNERAL SPACE
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE REPAST AREA TOOK ON A DIFFERENT APPROACH THAN THE MAIN FUNERAL SPACES IT SITS IN THE END OF THE PROCESSION AND TAKES ON A FAMILIAR DESIGN FOR MOST NORWEGIANS IT IS A SPACE FOR REFLECTION AND ACCEPTANCE DESIGNED AS A TYPICAL NORWEGIAN BOAT HOUSE OR CABIN IT IS ALSO A ldquoSAFE ZONErdquo AFTER THE FUNERAL IT FEELS LIKE HOME
REPAST AREA DINING amp CELEBRATION
78
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE OLD BONFIRE PLACE IS MAINTAINED IN A CONTEMPORARY STYLE BY THE END OF THE MAIN CUT LEADING TOWARDS THE REPAST BUILDING THIS IS A SPACE FOR PEOPLE TO MEET AND REFLECT TOGETHER
79
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
EE
REPAST DINING AREA
1 = MAIN REPAST + DINING AREA 2 = PRIVATE LAKE VIEW 3 = ENTRANCE 4 = PIER FOR REFLECTION AND MOURNING 5 = MECHANICAL
OUTDOOR SPACES
6 = BONFIRE SPACE 7 = PARK BENCHES
1
5
6
7
2
3
4
80
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
ELEVATION REPAST SPACE DINING amp CELEBRATION
81
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
SECTION E-E
82
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
83
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
84A MAN WITNESS THE SMOKE STEAM FROM A CREMATION FACING NORTH ON THE WATER OUTSIDE THE REPAST BUILDING
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CEMETERY
WIRES WILL CREATE A NETWORK BETWEEN THE TREES AND GRANITE URNS WILL HANG FROM THE WIRES FLOATING ABOVE A SLICED PATHWAY SYSTEM ON THE SITE BELOW BOTH THE WIRES WITH THE URNS AND THE SLICED PATHWAY MIRRORS THE TERRAIN TO CREATE A SENSE OF HIERARCHY WITHIN THE TOPOGRAPHY AS THE WIRES FOLLOWS THE TREESrsquo PATTERN THE SLICED PATHWAY FOLLOWS THE DIRECTIONS OF THE SUNSET THROUGH THE COURSE OF A YEAR FUSED WITH THE CARDINAL POINTS TO CREATE A SENSE OF PLACE
85
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
86A WALK THROUGH THE CEMETERY AND ITS SMALL CUTS IN THE SURFACE THE URNS ARE FLOATING ABOVE INTERCONNECTING WITH THE TREES ON THE SITE
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
CEMETERY DESIGN PROCESS
PATHWAYS - ORGANIC PATHWAYS - RIGID
TREES INTERCONNECTED NETWORK
PATHWAYS + NETWORK
87
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
88
1
2
3
4
5
6
7
8
9
10
THE CEMETERY AREA IS MARKED WITHIN THE LIMITS OF A 60O ANGLE AND A 30O ANGLE FROM THE CENTER OF THE SITE THE AREA MARKS THE LONGEST AND SHORTEST DAYS OF THE YEAR CREATING A 90O ANGLE THAT FOLLOWS THE SUNSET YEAR AROUND
10 LAYERED SECTIONS WITHIN THE CEMETERY TRIANGLE
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
89
10 cm
40 c
m
30 cm
30 cm
URN DESIGN
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
90
Perforated white concrete panels main interior amp exterior ceiling material
Hidden reinforced concrete columns + beams as main structural system
Perforated white concrete panels main interior amp exterior wall material
Translucent concrete ϭϬĐŵŵĂŝŶǁĂůůĨŽŽƟŶŐ
Reinforced wood cast concreteĨŽůůŽǁƐƚŚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ
ƌĞLJŐƌĂŶŝƚĞĂŶŐůĞĚŇŽŽƌƐLJƐƚĞŵ local bedrock
White concrete slabs + single amp double benches
PARTIAL ELEVATION - MAIN FUNERAL SPACE INTERIOR
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
91
AXONOMETRIC PROGRAM MATRIX
SMOKE FROM THE CREMATION IS TRANSFORMED TO STEAM COMING OUT FROM VENTS OVER THE WATER
NET SQUARE METERS FEET
- FUNERAL amp INDUVIDUAL MOURING SPACES = 700 m2ϳϱϬϬŌ2)
- PROCESSION SPACE amp RECREATION = 700 m2ϳϱϬϬŌ2)
- REPAST AREA (DINING CELEBRATION) = 460 m2ϱϬϬϬŌ2)
- CREMATORIUM = 200 m2ϮϭϱϬŌ2)
- BODY PREPERATION ROOM + MORGUE = 100 m2ϭϮϬϬŌ2)
- OFFICES = 150 m2 ϭϲϬϬŌ2)
TOTAL = 2310 m2 ϮϲϭϱϬŌ2)
THE DIAGRAM IS NOT INCLUDING THE CEMETERY AREA = 18 600 m2ϮϬϬϬϬϬŌ2)
END OF PROCESSION REPAST AREA
CREMATION SPACE SMOKE FROM THE CREAMTION GOES THROUGH A PROCESS OF FILTERING OUT ANY AIRBORNE TOXINS
BONFIRE SPACE
REINFORCED CONCRETE PANELS SECOND SKIN
SYSTEM
STRUCTURAL FRAMING SYSTEM REINFORCED
CONCRETE BEAMS amp COLUMNS
MAIN FUNERAL amp MOURNING AREAS
BEGINNING OF PROCESSION
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
92
WALL SECTION amp PARTIAL ELEVATION
DETAIL 1
DETAIL 2
DETAIL 3
DETAIL 4WALL SECTION
WALL SECTION
0 m
05 m15 m
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
93
1 EXTRUDED POLYSTYRENE FOAM INSULATION
2 GRAVEL
3 REINFORCED CONCRETE BASE
4 STEEL ANCHOR BOLT
5 1rdquo GRANITE TILING FLOOR SYSTEM
6 RADIANT HEATING SYSTEM
7 WATERPROOF MEMBRANE
8 RIGID INSULATION
9 REINFORCED CONCRETE FOOTING
10 CUSTOM CASEMENT WINDOW (BY MARVIN)
DETAIL 1 DETAIL 2 DETAIL 3 DETAIL 4
11 CUSTOM LED TAPE-ROPE
12 INTERIOR REINFORCED CONCRETE WALL PANEL
13 CUSTOM ALUMINUM PANEL CLIPS
14 2rdquo x 6rdquo WOOD STUD
15 TRANSPARENT CONCRETE
16 REINFORCED CONCRETE
17 EXTERIOR REINFORCED CONCRETE WALL PANEL
18 FORMED METAL COPING
19 EXTERIOR REINFORCED CONCRETE ROOF PANEL
20 INTERIOR REINFORCED CONCRETE ROOF PANEL
1 1
2
17
18
2
2
1
16
3
4
5
6
7
8
1013
11
19
20
13
12
10
1111
13
12
13
14
15
16
9
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
HYDRONIC RADIANT HEATING
= HYDRONIC RADIANT SYSTEM
94
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
A
A
B
B
C
C
D
D
EE
RADIANT HEATING
RADIANT HEATING HAS A NUMBER OF ADVANTAGES IT IS MORE EFFICIENT THAN BASEBOARD HEATING AND USUALLY MORE EFFICIENT THAN FORCED-AIR HEATING BECAUSE IT ELIMINATES DUCT LOSSES PEOPLE WITH ALLERGIES OFTEN PREFER RADIANT HEAT BECAUSE IT DOESNrsquoT DISTRIBUTE ALLERGENS LIKE FORCED AIR SYSTEMS CAN HYDRONIC (LIQUID-BASED) SYSTEMS USE LITTLE ELECTRICITY A BENEFIT FOR HOMES OFF THE POWER GRID OR IN AREAS WITH HIGH ELECTRICITY PRICES HYDRONIC SYSTEMS CAN USE A WIDE VARIETY OF ENERGY SOURCES TO HEAT THE LIQUID INCLUDING STANDARD GAS- OR OIL-FIRED BOILERS WOOD-FIRED BOILERS SOLAR WATER HEATERS OR A COMBINATION OF THESE SOURCES
HYDRONIC RADIANT FLOORS
HYDRONIC (LIQUID) SYSTEMS ARE THE MOST POPULAR AND COST-EFFECTIVE RADIANT HEATING SYSTEMS FOR HEATING-DOMINATED CLIMATES HYDRONIC RADIANT FLOOR SYSTEMS PUMP HEATED WATER FROM A BOILER THROUGH TUBING LAID IN A PATTERN UNDER THE FLOOR IN SOME SYSTEMS CONTROLLING THE FLOW OF HOT WATER THROUGH EACH TUBING LOOP BY USING ZONING VALVES OR PUMPS AND THERMOSTATS REGULATES ROOM TEMPERATURES THE COST OF INSTALLING A HYDRONIC RADIANT FLOOR VARIES BY LOCATION AND DEPENDS ON THE SIZE OF THE HOME THE TYPE OF INSTALLATION THE FLOOR COVERING REMOTENESS OF THE SITE AND THE COST OF LABOR
= HYDRONIC RADIANT FLOORS
MECHANICAL ROOM - COOLERS ACCUMULATORS + WATER BOILER
95
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
96
PHYSICAL SITE MODEL (1500) - AS SEEN FROM WEST
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
97
PHYSICAL SITE MODEL (1500) - AS SEEN FROM NORTH
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
98
PHYSICAL SITE MODEL (1500) - MAIN FUNERAL SPACES
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
99
PHYSICAL SITE MODEL (1500) - REPAST DINING SPACE ON THE WATER
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
100
PHYSICAL MODEL (1100) - INTERIOR MAIN FUNERAL SPACE
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
BUILDING CODE SUMMARY
TYPE OF CONSTRUCTION
TYPE II-B - UNPROTECTED NON-COMBUSTIBLE (MOST COMMON TYPE OF NON-COMBUSTIBLE CONSTRUCTION USED INCOMMERCIAL BUILDINGS) BUILDING CONSTRUCTED OF NON-COMBUSTIBLE MATERIALS BUT THESE MATERIALS HAVE NO FIRE RESISTANCE
OCCUPANCY TYPES
- MAIN FUNERAL SPACES = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
(MAIN FUNERAL SPACE = MAXIMUM OF 550 OCCUPANTS)
- CREMATORIUM + PROFESSIONAL CARE = BUSINESS AREAS FLOOR AREA IN SQ FT PER OCCUPANT = 100 GROSS
- REPAT AREA DINING = ASSEMBLY UNCONCENTRATED FLOOR AREA IN SQ FT PER OCCUPANT = 15 NET
BASED ON TABLE 10 THE INTERNATIONAL CODE COUNSIL (ICC)
FIRE-RESISTANCE REQUIREMENTS
COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT ONLY ONE FLOOR OR A ROOF ANDOR A NON-BEARING WALL NOT MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES WITH MATERIALS HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY ACEILING HAVING THE REQUIRED FIRE-RESISTANCE RATING OR SHALL BE PROTECTED BY A COMBINATION OF BOTH A CEILING AND INDIVIDUAL ENCASEMENT WHICH TOGETHER PROVIDE THE REQUIRED FIRE-RESISTANCE RATING COLUMNS GIRDERS TRUSSES BEAMS LINTELS ETC THAT ARE REQUIRED TO BE FIRE PROTECTED AND THAT SUPPORT MORE THAN ONE FLOOR OR SUPPORT A BEARING WALL OR WALL MORE THAN ONE STORY HIGH SHALL BE INDIVIDUALLY ENCASED ON ALL SIDES FOR THEIR ENTIRE LENGTH OR HEIGHT WITH MATERIALS HAVING THE REQUIRED FIRERESISTANCE RATING TRUSSES THAT SUPPORT ONLY TWO STORIES OR ONE STORY AND A ROOF MAY BE FIRE PROTECTED BY AN ENVELOPE THAT ENCOMPASSES THE ENTIRE TRUSS WITH MATERIALS OF THE REQUIRED FIRE-RESISTANCE RATING
SEE ALL EXITS IN PROJECT FLOOR PLAN DOCUMENTS
HEIGHTS AND ZONING REQUIREMENTS
THE PROJECT SITE IS A RECREATIONAL PARK AREA WITH NO BUILDING ANDOR ZONING REQUIREMENTS THE OVERALL AREA IS HOWEVER PARTLY NEIGHBORING A SINGLE FAMILY RESIDENTIAL DISTRICT OF BUILDINGS WITH AN AVERAGE HEIGHT OF 20 FEET
THE THESIS PROJECT IS FOCUSED AROUND HOW TO USE THE CHOSEN SITE FOR THE PROJECT PROGRAM ASSUMING LOCAL ALLOWABLE AREA FOR BUILDINGS AND STRUCTURES ETC
101
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
102
TIMELINE OF STUDY ACADEMY OF ART UNIVERSITY
FALL 2012
ARH 608 ADVANCED DESIGN STUDIO 1 INSTRUCTORS ROBERT KRAMER LETICIA SOOHOOARH 620 DIGITAL MORPHOLOGY INSTRUCTORS DORON SERBANARH 602 STRUCTURES INSTROCTORS FRANCISCO CASTILLO
SPRING 2013
ARH 609 INTERMEDIATE DESIGN STUDIO INSTRUCTORS ALEXA GETTINGARH 605 GRADUATE DESIGN TECHNOLOGY INSTRUCTORS SEAN TIMMONSARH 641 ARCHITECTURAL HISTORY MODERNISM AND ITS GLOBAL IMPACT INSTRUCTORS HANS SAGAN
SUMMER 2013
ARH 601 SPACIAL COMPOSITION INSTRUCTORS ERIC LUM
FALL 2013
ARH 619 ADVANCED DESIGN STUDIO 2 INSTRUCTORS RICHARD SMITH DAVID KESLERARH 606 CONSTRUCTION DOCUMENTS AND BUILDING CODES INSTRUCTORS FUMIO SUDA
SPRING 2014
ARH 801_1 THESIS ADVISOR DAVID KESLERARH 801_2 THESIS ADVISOR DAVID KESLERARH 614 ARCHITECTURAL PROFESSIONAL PRACTICES INSTRUCTORS ELIZABETH TIPPINARH 604 MATERIAL AND METHODS OF CONSTRUCTION INSTRUCTORS DAVID GILL
SUMMER 2014
ARH 635 CONTEMPORARY URBAN THEORY INSTRUCTOR MONICA TIULESCU
FALL 2014
ARH 801_3 THESIS ADVISOR DAVID KESLERARH 801_4 THESIS ADVISOR DAVID KESLERARH 900 INTERNSHIP AKHAS ARCHITECTS INSTRUCTOR ERIC LUM SUPERVISOR KONRAD HALVORSEN
SPRING 2015
ARH 657 DESIGN MEDIA - PERSPECTIVE INSTRUCTOR NICOLE LAMBROU
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -TOTAL UNITS = 63 GRADUATION MAY 2015- MASTER OF ARCHITECTURE
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
INDEX
414243444546474849410411412413414415416417418419420421422423424
p 7 8 9 p 10 11p 14 44 45 46 47 48p 14 16 17 30 31 32 33 34 35 36 37 38 39 40 47 48 p 16 17 30 31 32 33 34 35 36 37 38 39 40p 66p 65p 42 43 52 53 57 58 59 60 67 78 87p 51 91p 66p 96p 70 80p 91p 70 80 91 94 95p 72 73 81p 71 74 75 82p 92p 92p 93p 75p 94 95 96p 69 76 79 84 86p 77 83 90p 96 97 98 99 100
103
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
THE CLASSICAL ELEMENTSAIR
HOT DRY
WET COLD
EARTH
FIRE
WATER
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014
A NATURAL REQUIEM
a Master of Architecture Thesis by Erling Berg
-
Academy of Art UniversityGraduate School of Architecture
San Francisco -
2014