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Cemeteries
Liminal Temporal
Medieval CemeteryBurial inside Church walls
With increase in population, so to an increased area required for cemeteries.
19th century cemeteries are based on “romantic” ideas of the landscape as a pastoral picturesque representation of natures divinity filled with monuments to humans mortality.The use of the obelisk.Destinations for strolling and communing with nature.
Architecture similar to the Greek temple, not for mortal occupation but for spiritual occupation.
Erik Gunnar Apslund Architect Woodland CemeteryEnskede, Sweden 1914-50
CEMETERY PLAN, 19401 Main entrance 2 Woodland Crematorium and chapels of Faith, Hope and Holy Cross3 Hill of Remembrance4 Woodland Chapel
Axial and Asymmetric CompositionSymbolism Liminal Space
Terrestrial and Celestial
Outer Wall Rough to SmoothClassicism and Modernism
Entry linear and axial Procession Expansion and Contraction
3 Chapels: Faith, Hope and the Holy Cross, with the crematorium below.
Expandable ChapelWood Soffit.Polygonal Wall
Woodland Chapel Use of Swedish vernacularSentimentality
Note the capital detail.
Hill of Remembrance, Deciduous Trees
Hill of Remembrance- Horizontality
Apslund’s Grave
Paving Detail- Mnemonic to tree trunks.
Carlo Scarpa Architect Ottolenghi HouseByzantine Mosaics, the whole is greater than the sum of it’s parts.
Carlo Scarpa Architect Brion CemeteryTreviso, Italy 1969
Plants and Symbolism: Sorrow, The Sacred, Life and Growth, Perfume,Fertility, Change and Eternity.
Sorrow-reinforced by the board formed concrete.
View to “Meditation Garden”Water features from the Islamic garden.Vines
Meditation Garden.Evergreen tree. Island symbolic of death.
Overlap of planes.Water Lilly
View to the Brion tombUse of tile and water channel.
Brion Tomb
Japanese Maple
ChapelDesign Drawing
Water as the body Void as the soul
Detail Gate
Carlo Scarpa’s Grave
Enric Miralles & Carme Pinos Architects Igualado CemeteryBarcelona, Spain 1994
Maya Lin, Sculptor Vietnam Memorial Washington DC, 1982
Night and Day