N EC RO PO LI S Mikael Andersson Master Thesis Spring 2022 Examiner: Björn Gross Supervisors: Mikael Ekegren Chalmers University of Technology Department of Architecture & Civil Engineering Architecture and Urban Design. Building and Tectonics © 2022 Mikael Andersson NECROPOLIS Sweden is one of the most secularized societies in the world and many swedes go through their entire lives without the involvement of religion, but that is not true for their death. The purpose of this master’s thesis is twofold: to propose a design for a truly secularized burial site, that celebrates death in a meaningful way without religion, where religion is welcome but not the norm, and secondly to find a typology for the burial ground that fits the urban landscape and do not occupy unnecessarily vast areas of land, useful for other types of urban expansion. Through dialogs with Sveriges Kyrkogård och Krematorie förening, manufacturers of cremator ovens and filter equipment, as well as reference projects, a room program was constructed. From this a connection diagram was established that in conjunction with the room program became the necessary toolbox in working with the separate flows and functions of the facility. On top of this separate focus studies were performed to further enhance and detail the design. Through historical and reference studies of architecture relating to death, primarily the thoughts of Étienne-Louis Boullée, his theory of architecture parlante and what he fittingly describes as the ‘Poetry of Architecture’ (Boullée, E. 1953), as well as crematories of Italy, Germany, Scandinavia, and France, a visual language is distilled that has the dignity and stature to manifest a memorial for our loved ones. The design of the necropolis is imbued with the symbolism and an architectural language that is associate with death while not making the religious connections. The building should communicate both civic authority as well as emotional resolution (Worpole 2016). The atmosphere of these grave settings is of paramount importance, it should not through mediocrity sit at odds with the emotional range of the funeral service or while visiting a dearly departed. Atmosphere is investigated through the nine qualities of atmosphere proposed by Peter Zumthor (2006) in his book Atmospheres. Keywords: Columbarium, Crematorium, Funeral, Mausoleum, Necropolis ABSTRACT What? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Thesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Why? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Aim & Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Delimitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Reading Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 How? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Room Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Calculation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Flows & Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Site Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Study of Ceremonial Halls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Study of Columbarium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Study of Geometrical Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Study of Space, Sequence and Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Sunlight Analysis & Mass Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Siteplan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Section W-E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Perspective of Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Elevation from South . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Elevation from West . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Entrance Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Section N-S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Perspective of Rotunda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 Perspective of Ceremonial Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Section of Ceremonial Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Elevation of Ceremonial Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Perspective of Oven Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Basement Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Atmosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Et in Arcadia ego . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Secularity & Ceremony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Architecture & Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Baumschulenweg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Bispebjerg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Fælleskrematoriet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Père-Lachaise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Skogsljus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Tempio di Cremazione . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Books & Journals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Online resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 CONTENT 1 2 WHAT? Background According to the World Values Survey (“WVS Database”, 2022), Sweden is one of the most secular countries in the world. The church was separated from the state in the year 2000 with one exception, the Swedish church is commissioned by the Swedish state to perform funerary services and provide burial sites (The Church of Sweden Employers’ Association, 2020). This is a unique arrangement that sets Sweden apart from most European nations; historically, overcrowding of churchyards resulted in very unhygienic living conditions within the rapidly expanding towns and cities of Europe. The rich and powerful where given the privilege to be buried within the churches, and this sparked a demand for similar treatment from the lesser classes. The situation got even more strained when Willem the Stadhouder came to reign in Britain alongside Mary and brought with him the Netherlandish customs where churches functioned like enormous public mausolea (Curl, 2002). During the 18th century the growth of the Swedish population was so great that the capacity of the old churchyard’s was stretched to their limits, bodies were not decomposing quickly enough (Grönwall, 2017). Overcrowded graveyards led to decaying matter getting into the water supply and causing epidemics, so charnel houses where erected and old bones where disinterred to make room for new burials (Curl, 2002), but the situations required more drastic measures, and during the 19th century, radical and secularising impulses lead to the establishment of the grand cemetery Père-Lachaise in Paris (Heathcote, 1999). Père-Lachaise quickly became the model for a new era of private and public funded cemeteries like Mount Jerome in Dublin, Glasgow Necropolis, Kensal Green and the other six cemeteries of the ‘Magnificent Seven’ in London (Curl, 2002). The interesting shift that happened here is that during this time, the responsibility of caring and housing our dead shifted from the clergy to the public and private sector in most European countries, but not in Sweden. For the most part, the involvement of religious authorities tends to be marginal, with the exeption of Denmark and Sweden, where the Church authorities have maintained a degree of control (Rugg, 2000). In Sweden, the state has placed the responsibility for securing burial sites and performing cremations on the parishes and groups of parishes of the Church of Sweden, e.g., Göteborgs begravningssamfällighet, with the exception of the municipalities of Stockholm and Tranås. The entity that is responsible for funerals, cremations, and burials is called the burial authority. (The Church of Sweden Employers’ Association, 2020). While not strictly a monopoly, it has often been described as such and at the moment there are no obvious alternatives. You can opt for a civic funeral service, but you will most likely be buried in consecrated ground, on property own by the Church of Sweden (Grönwall, 2017). You can choose between being buried or cremated, if you are cremated you can apply for a permit to have your ashes spread beyond the designated burial grounds, e.g., the ocean, but it must be a place not to close to settlements. The parishes are required by law to provide a sufficient number of graves, and also burial spaces for other beliefs and views of life in a respectful manner, as well as alternative accommodations for faith-neutral funerals, cremations, and burial activities (The Church of Sweden Employers’ Association, 2020). But these venues seldom match the architectonical qualities that the church offers and is far less suited for such an important occasion as a funeral. Therefore I find it imperative that we reevaluate this arrangement. Since the beginning of the 21st century, there has been a steady decline in the number of funerals adhering to the Church of Sweden’s funeral order (Helgesson Kjellin, Sandberg, & Sjöberg, 2021). Helgesson Kjellin et al. (2021) reasons that the decrease is probably due to the fact that younger generations are not socialized into the traditions of the Swedish Church at the same extent as previous generation, drawing a parallel towards the similar decline in baptism, confirmation, and weddings. I would argue that the number of funerals that follow the Church of Sweden’s funeral order, 65% of all funerals in Sweden in 2020 (Helgesson Kjellin et al, 2021), is high compared to their number of members, roughly 54% of the entire population, especially since only 86% of their own members opt for funerals that follow the Church of Sweden’s funeral order (Helgesson Kjellin et al, 2021). I believe that this is probably due to the fact that they have settled in what you in nudge theory would call the default choice, as well as their almost self-mutilating tendencies in being too accommodating in an attempt to stay current, exemplified by Helgesson Kjellin et al. (2021) when they argue that the grief makes people more susceptible to the way they are treated, and if the clergy is not accommodating enough, it could alienate people to such an extent that they will leave the Church for good, therefore the clergy should rather accommodate the wishes of the bereaved than stand by their own tenets. There is an apparent decline in the number of people who chooses a funeral that follow the Church of Sweden’s funeral order, and this is especially noticeable in Göteborg, and particularly Stockholm where only 54% choosed to have funerals that follow the Church of Sweden’s funeral order. This is partly because there are more people per capita here that are not members of the Church of Sweden compared to the rest of the country, but it is still a significant difference even when this is accounted for according to Helgesson Kjellin et al (2021). A recurring reflection is that most of the people who are members of the Church of Sweden is probably not believers, and just members purely out of habit. Another theory is that more and more people view the funeral as a private occasion, and the fact that the Church of Sweden insist on the funeral being a public funeral mass might be another alienating factor (Helgesson Kjellin et al, 2021). So, the question is if it is feasible that they should be responsible for such an important societal function? As a Christian faith society, the Church of Sweden’s main objectives is to spread the gospel, hold divine services, diaconia, and missions. As the appointed burial authority, they are in a unique position compared to other faith societies, and although they are required to provide this service faith neutral, this dual nature sometimes leads to ambiguity and meshing of these two rolls (Helgesson Kjellin, 2021). Sveriges kykogård- och Krematorieförbund (2017) are generally happy with the arrangement, in a do not fix what is not broken kind of mentality, but they do present some critique. To begin with they point out that since the start of the 21st century, the Church of Sweden has lost about 1,3% of their members annually, and if this trend persists, their main source of income will soon come from being tasked to provide burial services. Sveriges kykogård- och Krematorieförbund (2017) also points out that there have been some troubling developments, where they experience that the Church of Sweden have successively increased their confessional pressure, even though there should be a clear divide between their role as a faith society and that of state appointed burial authority. -40,000 -20,000 0 20,000 40,000 60,000 80,000 100,000 120,000 AVAILABLE GRAVES 400,000 450,000 500,000 550,000 600,000 650,000 700,000 750,000 POPULATION 3 4 WHAT? I would argue that there is a dissonance between the values that we chose to live by, seeing that Sweden stands out as one of the most secular nations in the world, and the alternatives presented to us regarding our final resting place and that this should be reason enough to explore our alternatives, but there are other problematic aspects to. We have reached a point where the urban population of the world is greater than the rural, and cities like London, New York, and Hong Kong are rapidly running out of burial space (Eggener, 2018). This is a phenomenon directly related to the growth of cities, and when cross referencing statistics from Göteborgs Stad, Sveriges Kyrkogårds- och Krematorieförbund, and Göteborgs Kyrkogårdsförvaltning it becomes apparent that there will be a acute shortage of graves in Gothenburg if the population growth continue as predicted and no new burial grounds are established. Gothenburg has had a deficit of burial space for the past 40 years. Because of the accumulated deficit in combination with population growth, there is now an urgent need for at least 30 hectares of new burial space within the next 20 years, plots that need to be at least 10 hectares each and easily accessible (K. Evenseth, personal communication, January 3, 2022). In Sweden, if a person is a registered citizen within a burial authority’s administrative district at the time of their death, that burial authority must provide a grave, or equivalent, in a public cemetery for 25 years at no cost to the estate of the deceased, after 25 years the estate can choose to keep the grave in exchange for a fee, or it can be returned to the burial authority (The Church of Sweden Employers’ Association, 2020). Because of this there is an influx of graves every year that is returned to the burial authority. But, in Sweden, by law, griftefriden inhibits the reuse of graves to a certain extent. Specifically, that each grave is usually only reusable up to three times, since the new interment must be shallower than the previous one, effectively stacking three graves on top of each other (M. Hammarberg, personal communication, January 31, 2022). This unfortunately means that all graves in Gothenburg will at some point become unusable, and it becomes increasingly hard to calculate how many graves Göteborgs begravningssamfällighet have at their disposal. But if we disregard that a grave can only be reused 3 times and hypothesis that every grave was empty by the year 2010, we can see that with the predicted increase in population and with the amounts of deaths in relation to the population growth there will be a shortage of graves by the year 2035. Therefore, a solution to this problem is highly necessary. The obvious problem with cemeteries is that they permanently occupy vast amounts of useful greenspace that could otherwise be used for either recreational parks or urban densification. Less obvious is that traditional burial consumes materials like metals, stone, and concrete, while also posing a risk that it can contaminate the soil and groundwater (Eggener, 2018). The rapid shift in the distribution of our population towards older ages puts us in a challenging spot regarding the scale of death infrastructure (Murray 2016) and while more than 60% of open space in the London Borough of Newham is cemetery land (Worpole, 2016) the need to find a more space efficient typology becomes apparent. But as mentioned earlier, this is not the first time that the bulk of all the dead and the living have been on a collision course; by the 1870s most of the earlier problems regarding disposal of the dead had been dealt with (Curl, 2002). Death had by then been forced into exile, and by the end of 1785, processions of wagons had been crossing the cobbled streets of Paris by night for 17 months, relocating the 6 million corpses that had hitherto occupied Cimetière des Saints-Innocents (Valentijn, Verhoeven, & Tol, 2018). But already by the end of the 19th century, the new hygienic cemeteries that were located outside the cities where gradually filling up, and for many it became apparent that even these grand acres of death would someday be full, and become a cause of great difficulty (Curl, 2002). But Victorians had grown distant to soft values and become experts in hard facts and efficiency, and a functional line of thought was introduced in the debate. It was argued that the corpses could be broken down and used as fertilizer, used in research, artificially and speedily decomposed, used as fodder for animals or even humans, mixed with water and treated as sewage, frozen, or burned (Curl, 2002). In the end, cremation was the favoured option, but it was not the Europeans of the 19th century that invented cremation, the ceremonial burning of corpses is older that human history and most likely were a common occurrence in Europe and the Near East during the early Stone Age, spreading across northern Europe during the late Stone Age, with the oldest traces of cremation in Europe found in Sweden from about 7000 BCE (Valentijn et al, 2018). But the customs of cremation were considered pagan by the early Christians of the Roman Catholic Church, and this perception of cremation as something foul and pagan held strong well into the 19th century. But the world of the 19th century was a world in change, and the discovery of the New World in the 16th and 17th centuries had broadened the cultural horizon, and some inspired scientists rediscovered cremation, which was common practice in large parts of Asia (Valentijn et al, 2018). The earliest crematoriums of Europe were much simpler buildings than their contemporary counterparts, but in a sense, they were more genuine, since the farewell took place in the crematorium itself. This is primarily because the pioneers where abandoning the ecclesiastical services since the church was opposed to cremation, and they needed a venue for the farewell (Valentijn et al, 2018). But, what is important to consider about crematoriums is that they were basically developed in conjunction with the invention of the cremator oven, and mainly constructed to shelter one or multiple ovens, all other functions have been subject to extensive debate since its inception (Valentijn et al, 2018). Cremation accounts for over 80% of all funerals in Sweden, and because it is a modern phenomenon, and a movement that historically was secular, functional, hygienic, and even anti- clerical (Curl, 2002), architects have tried abandoning the religious architectural traditions while struggling to develop a new stylistic language for these secular but grave settings, which are required to communicate both civic authority as well as emotional resolution (Worpole, 2016). It is apparent that crematoriums play an increasingly important role in our society, but they vary greatly in function, where we on one hand have almost complete funeral homes, and on the other hand have almost purely technical disposal facility like the ones we see in the Scandinavian countries (Valentijn et al, 2018). It saddens me as a Scandinavian that we have managed to produce some of the most exquisite pieces of contemporary funerary architecture in the world, obviously we understand the important position funerary architecture holds in or society, when we seldom give any thought towards the important position the ceremony and send-off holds in the grief process, and how important and curative a clear and definitive conclusion can be when the only thing left to do is accept and move forward. To rectify this was one of my primary objectives when I wrote this thesis, and if there is anything that I hope that you the reader carries with you when you stop reading is the knowledge that the ceremony, and its conclusion, need to hold a pivotal part in future crematoriums. ([Monumentale di Milano ingresso al Tempio Crematorio], 2015) 5 6 WHAT? Context In all honesty the spaces that we create for our dead is actually meant for the living, they are intended to be places of social cohesion and should feel reliably solid when we ourselves are breaking apart. Therefore, even if my intentions are to avoid any religious branding there will be cultural aspects to consider. Death is a process for both the dying and those left behind, and the spaces intended for it should offer solace and consolation, it should feel like an important space worthy of our loved ones and offer the unique feeling of purpose and continuity (Murray, 2016). And we need these spaces in the heart of our cities because we want to remember and stand in the silent presence of our loved ones. Therefore, this master’s thesis is set in a central urban context located on top of Medicinareberget. Notable pieces of architecture to especially consider in the vicinity is Skansen Kronan, Annedalskyrkan, and Göteborgs naturhistoriska museum. The site offers many advantages that are key for this thesis, first and foremost it is centrally located while still unrestrained by any apparent architectural influences, this allows for a greater freedom regarding placement, expression, and major and minor axis. It will allow the project to be a solitary piece of monumental architecture without compromise, creating the opportunity for an unrestrained proposal and focus all efforts on the task of creating evocative spaces by working with the interior, scale, light and shadows, materiality, details, and atmosphere, with great liberty in room sequences, orientation, and spatiality. A site visit was carried out to better understand the site. Notes were taken during the visit regarding possible pathways, rocky outcrops, and vistas. Multiple vistas were noted, especially towards the west with a view overlooking Slottsskogen and Annedalskyrkan, and also towards the north, with a great view overlooking Linnéstaden and skansken kronan, seeing all the way to Hisingen. Linnéplatsen is the primary hub for public transport in the vicinity, and during the visit a path was mapped that established a connection between the site and Linnéplatsen. South of the site, only 3 minutes by car, is Sahlgrenska Universitetssjukhuset, and right next door is Rättsmedicinalverket; the Swedish government agency that is responsible for forensic chemistry, forensic genetics, and forensic medicine. This is very desirable since Sahlgrenska is the biggest hospital in the vicinity and many of the deceased will come from either here or Rättsmedicinalverket. There is also a need for a venue to cremate body parts that are removed during surgery, since they cannot be disposed of in any other way. If the crematorium could accommodate this need, it might be possible to have the ovens burning throughout the night; if you can have an oven burn a continuous period of 60 hours per a week rather than to re-ignite it every day, you can save up to 50% of fuel usage (Valentijn et al, 2018). There were two rows of 60 construction barracks, stacked in two levels, that was used as student housing in the southern end of the site. Since these were temporary structures, they were disregarded when moving forward with the project. There was also a parking garage in three levels just east of the site. This garage was not well used, and it is situated below the main plateau of the site, with the top deck almost level to the main plateau. A walkway was proposed, linking the top deck of the garage with the main plateau to allow easy access for wheelchair users. Wheelchair users are also able to enter the site via the south entrance, but since the site is located on top of a hill, most wheelchair users will most likely arrive by car or taxi. Thesis This master’s thesis is parts research-by-design on how to design an urban, secularized cemetery and crematorium, and parts research-on-design through analysis of case studies regarding how death has been approached in architecture from a historic perspective, as well as in contemporary projects. I believe that the aesthetics of this project will be of paramount importance and I think Boullée said it best when he said: ‘Yes, I believe that our buildings, above all our public buildings, should be in some sense poems. The images they offer our senses should arouse in us sentiments corresponding to the purpose for which these buildings are intended’ (Boullée, 1953) I believe that through previous experiences, we have a preconceived notion of what this type of settings entails, and stepping away from that format will cause a conflict between our experiences of the space and the situation, leading me to the conclude that atmosphere is extremely important in this kind of setting. To verify this hypothesis, extensive research into the social sciences regarding funerals and the grief-process was conducted. But the notion of atmosphere raises some interesting questions: What gives a building its atmosphere? And what kind of atmosphere should this building exude? To answer the first question I am relying primarily on the theories of Peter Zumthor and his book, aptly called Atmospheres. Secondly, I will investigate what I define as the architectural language of western funerary architecture, referencing the rich history of western funerary architecture. But setting is not everything, the sequence of events is just as important, acknowledging the importance of the ceremony and how it ties directly into the design. Approaching the design from the ceremonial point of view not only addresses functional questions like, do the rooms work with or against the intended program, but it also engages the human perspective, raising further questions like: Is the atmosphere of the room appropriate? What is it like entering/occupying/ exiting a room? What is the appropriate sequence of rooms? Ultimately, I will answer the following questions: • Is this typology viable, even preferable? • What is an appropriate atmosphere for a secular building, that supports mourning and remembrance? • What could/should a secular building for the dead look like? • What functions should a secular building for the dead accommodate? To guide this focus I will try to answer the following questions along the way: • Is there a common spatial, material and/or mood that is historically representative for funerary architecture? • What do people want their loved ones’ final resting place to look like? • How should you work with the ceremony in this type of project. 7 8 WHY? Aim & Purpose Firstly, I do not think that the arrangement we have today is beneficial; outsourcing a very important societal function onto a shrinking faith community that soon, most likely, will garner more revenue from their role as burial authority than from their actual work is a mistake in my opinion. Both because they obviously are settling in a much more marginalized position in our society, but also because we mistreat other faith communities by playing favourites. Secondly, I believe that most Scandinavian crematories have missed an opportunity and disregarded a very important function when the ceremony was left out of the design brief. This is probably due to the fact that Sweden and Demark have appointed our former state churches as burial authorities of our respective nations, and they of course prefer to keep using their churches. Thirdly, I also wanted to strengthen the position that death have in our society, believing that the displacement to peripheral cemeteries that happened during the 18th century created an unfavourable distance between the living and the dead. Now, most of those cemeteries lies within the city borders due to urban expansion, but I do not want us to keep repeating the same mistakes as we are approaching a point in time when we yet again must decide where to lay our dead to rest. I also wanted to point out the opportunity we have in finding alternative typologies since over 80% of us gets cremated, and the traditional cemetery lay claim on very large landmasses. Lastly I wanted to rectify the almost factory like aesthetic that plagues our contemporary funeral architecture designs; Modernism might work for the architecture of the living, but when it comes to the architecture of the dead, we often find solace in the familiar embodiment of tradition and revert back to a more conservative aesthetic language (Heathcote, 1999). Delimitations This master’s thesis does not aim to propose a replacement to graveyards as we know them but rather explore and elaborate on our options and showcase an alternative. I will not delve too deep into the rules and regulations regarding the handling and final disposition of human remains, if my proposal is not coherent with current regulations is beside the point and scope of this master’s thesis. Also, parts of the project will be left at more of a conceptual stage, because it is not feasible to undertake both a major landscaping and architectural undertaking during one semester. Therefore, the columbarium will not be as refined as the crematorium. Me The thought of having a Christian burial and ending up in consecrated ground has never felt appealing to me. I have never identified myself as a religious person and, morbid as it might seem, have many times pondered about my own eternal resting place, and been sorely disappointed in how few options there are, and how little those options resonate with me. I am not a religious person, I do not subscribe to the idea of a soul, I have a strong inclination towards the sciences, but that does not mean that I do not want to show reverence towards the departed. For me, the burial site is not a place where the dead linger, but rather a place that helps the living remember. And the funeral is a respectful goodbye, as well as an important part of the grief process. During my studies, I have had a keen interest regarding the expression, usage, and experience of rooms, of sequentiality and in some sense ceremony. I believe that these are paramount in good architecture, and something that this master’s thesis will need a great deal of. Reading Instructions The thesis is broken down into multiple parts, and I tried to write it so every part would be able to stands on its own, so you do not need to read the entire manuscript if you are just interested in specific parts. Although, this means that there will be some repetition, since the same topic might recur in another part of the thesis, where it is expanded on or discussed in relation to something else. Under the headings What?, Why?, and How?, I give a brief introduction to the topic, the context, the thesis, and my aim with this thesis. I also introduce myself and my education as well as define the delimitations, or boundaries that I set. Under the headings Room Program, and Studies, I will expand upon the knowledge that I collected during this process, in regards to the function, arrangement, and detailing. Knowledge that I later rely on when transforming theoretical knowledge into practical implications and lines on paper. The heading Design is self-explanatory, here I give an in-depth rundown of the project in its entirety. Under the heading Theory, I will expand upon the theoretical framework that I hitherto only hinted at, as well as summarize my conclusions. Under the final heading References, I will give full disclosure of my references, as one should always do. Education Master of Architecture Chalmers University of Technology Gothenburg, Sweden 2017-2022 Autumn, 2018 AUT164 - Future visions for healthcare, housing and work 1: Residential healthcare - housing for seniors. ARK641 - Master’s thesis preparation course 2 (Material Turn). ARK636 - Master’s thesis preparation course 1. Spring, 2018 ARK137 - Future visions for healthcare, housing and work 2: Housing inventions ARK442 - Design and communication tools ARK590 - History, theory and method 1 Autumn, 2017 ARK263 - Future visions for healthcare, housing and work 3: Healthcare architecture ARK650 - Sustainable development and the design professionsBachelor 2014- 2017 Bachelor of Architecture Chalmers University of Technology Gothenburg, Sweden 9 10 HOW? Method To identify potential sites, a DTM, Digital Terrain Model, that is produced using lidar data from a point grid with a resolution of >1 point/m2 was acquired from Lantmäteriverket. The DTM is supplied as a raster heightmap, generated from points classified as ground and with a resolution of 1 m/pixel. Using QGIS, a slope map and an aspect map were calculated from the DTM; the slope calculation calculates the per pixel slope in relation to the eight surrounding pixels, while the aspect calculations give each pixel a numeric value based on the directions of the slope face, where 180 is south. A raster calculation was performed using the slope map and aspect map to identify areas in Gothenburg where the slope was either less than 5% or the slope was less than 30% and not facing north. A land use map was also converted into raster format and used to exclude areas that were identified as already in use by other functions. This produced a binary raster map that shows where the calculations returned true or false. From this, potential sites were identified and qualitatively assessed to find a good match. The main criteria of the qualitative assessment were size, centrality, and accessibility via public transport. A Sunlight hours analysis was performed with Ladybug tools using Rhinoceros 3D and Grasshopper. The time period was set to measure the average sunlight hours over an entire year. The analysis confirms that the entire site receives ample amounts of sunlight, including the north facing slope since it is not steep enough to shadow itself, though placing structures here would potentially have a negative impact on the microclimate. An annual daylight simulation was also performed on parts of the interior using Ladybug tools, Honeybee, Rhinoceros 3D, and Grasshopper. The time period was set to measure the average useful daylight illuminance over an entire year. The data was collected in percent, and showed the percentage of time the interior was illuminated above a threshold value of 300 lux. A simple script was constructed in Grasshopper, that calculates the slope of a curve. This was used to sketch paths across the topography to find an accessible route from Linnéplatsen, making sure it didn’t have a rise above 8%. To make this possible, large amounts of earth had to be excavated. Therefore a cut and fill analysis was performed, and measures where taken to achieve an acceptable mass balance. Parallel to site analysis, historical and reference studies of architecture relating to death was conducted. The thoughts of Étienne-Louis Boullée was especially considered, primarily his theory of architecture parlante and what he fittingly describes as the ‘Poetry of Architecture’ (Boullée, 1953), as well as contemporary European crematories from Italy, Germany, Scandinavia, and France. From this, the layers of religion and sacral symbolism was peeled of in an attempt to distill an architectural language that was both evocative and representative of the monumentality and dignity that is deserving to manifest a memorial for our loved ones. My wish was to transcend the mere visuals and stimulate other senses like sound and touch, creating a deep understanding of the importance of materiality, surface and space. To help me with this I employed the thoughts of Peter Zumthor, collected from his book Atmospheres. My research on the grief process, and the connection between healthy grief and a fulfilling ceremony, has made me think about how the atmosphere of the building works in tandem with the ceremony in creating a desirable experience. How the building was experienced therefore transcended being a question of mere taste and became one of the primary functions of the complex. So, by engaging the human perspective, I used the context of the ceremony to addresses functional questions like, does the rooms work with or against the intended program? Raising further questions like: Is the atmosphere of the room appropriate? What is it like entering/ occupying/exiting a room? What is the appropriate sequence of rooms? Working with the ceremony as my modus operandi. Through dialogs with Sveriges Kyrkogård och Krematorie förening, manufacturers of cremator ovens and filter equipment, as well as reference projects, a room program was delineated. From this a connection diagram was established that in conjunction with the room program became the necessary toolbox to begin working on the separate flows and functions of the facility. On top of this separate focus studies were performed to further enhance and detail the design. One of the focus studies was aimed at trying to understand the layout of the ceremonial halls and how different arrangements of seating would impact the ceremony. I investigated the difference between the classic theatre arrangement, which is the most common, and two other arrangements that I choose to define as the parliament seating arrangement and the centred seating arrangement. I also further investigated how these three could be combined into hybrid seating arrangement, and if those synthesized arrangements could alleviate some of the problems associated with their component arrangements. Another focus study I did was aimed at understanding what affective responses the layout of individual niches in the columbarium would garner, and what the critical parameters were. And in my third focus study, I wanted to investigate how the circle and the square could interact, since my research on funerary architecture underlined how important symmetry and geometrical formality has been to the success to the mortuary tradition. When designing funerary architecture, you quickly realize that a large part of the building is dictated by the ceremonial sequence. So, I began by mentally trying to organise the rituals and the ceremonies, creating spaces that support them. Based on the knowledge I had acquired through my research, I sketched a progression though the building, schematically connecting the rooms in the right order. I then looked at how the progression would impact the experience, reasoning that arriving at pivotal parts of the ceremony would coincide with entering and exiting certain rooms, looking at how the physical and emotional experience could work in tandem. I played with the ideas of enclosure and spaciousness and how one state can elevate the experience of the other. I studied the relationship between scale, verticality, proportions, and how it impacts the occupant relationship with the building. I looked at how I could work with the natural lighting, both for emotional effects as well as a means to steer the occupant in the right direction. 11 12 DM K K K/F DM *Main entrance Grand Hall Arboretum Officiants chamber Gardening shed Grand Hall Control room Changing room *Waste disposal room Ash processing Cenotaph Cremator room Crematorium *Garage Control room Storage *Hearse entrance Lavatory Family room Office Columbarium Mortuary Officiant Urn & coffin storage Ceremonial Hall Necessary Lavatory Archives Office Waste disposal *Coffin reception Washing room Oil tank Staff room Lavatory Garage Wreaths & flowers sale *Diesel generator Heat recovery Freezer Technical room Mortuary Lavatory Changing room Inconsequential Undesirable Anteroom Family room Process fanroom Staff Anteroom Anteroom Cremator room Scale 1:300 Family room Cremator room Lavatory Meeting room Urn & coffin storage Rest room Manager Anteroom Process fanroom Meeting room Technical room Archive Technical room Anteroom *Staff entrance Family room Diesel generator Control room Family room Managers office Freezer Administration Desirable Memorial garden Ceremonial halls *Oil tank Staff room Mortuary Mortuary Lavatory Ash Processing Washing room Process fanroom Wreaths & flowers sale ROOM PROGRAM Calculations An approximation of a suitable number of graves where set to 40,000, this is quite a high number since it is almost 1.5 times the size of the currently largest graveyard in Gothenburg, and almost 40% of the total amount of graves available to Göteborgs begravningssamfällighet, but since one of the goals of the project was to test the typology, it was decided that a major impact on the local burial landscape was desirable. From here it was possible to estimate the number of ceremonies per day; reasoning that if 40% of all graves in Gothenburg would be located at this cemetery, that means that at least 40% of all funerals would take place here, and 40% of the estimated average of funerals per year between the years 2025 and 2070 is 3,116 divided by 250 workdays per year is just over 12 ceremonies per day. A cremator cremates a normal sized person in about 75-90 minutes. According to Sveriges kyrkogårds- och krematorieförbund (Den framtida krematorieverksamheten, 2017), one cremator oven can cremate about 1,350 remains per year, if we assume that the technicians work 8-hour workdays with no overtime, regular service of the ovens are performed, and some leeway regarding unforeseen downtime is accounted for. Most cremators are either single sided, meaning they are raked and charged from the front, or double sided, raked from the back and charged from the front. A cremator technician needs 4.5 meters on the raking side, and about 6 meters on the charging side for the foldable charging bier. So, the cremator room needs to be at least 14 meters long and 5 meters wide. Every cremation uses about 20 l of oil, and it is appropriate to have a buffer that would lasts at least 3 months, so an oil tank with an 15,000 l capacity is necessary. An industrial sized diesel generator is also necessary in the event of a power failure since the cremation needs to run its course; each oven needs about 35 kW, so a diesel generator of about 100 ekW is sufficient. The flue gases need to be filtered so no particles or harmful substances will spread to the surrounding area. Before this the flue gas needs to be cooled, this is done via a flue gas cooler that works like a heat exchanger and is connected to the district heating system. It is usually estimated that it is possible to regain about 230-250 kWh of energy per cremation that can then be used to heat the facilities while the excess is distributed to the surrounding area via the district heating system. The flue gas cooler is also connected to a dust filter that in its turn is connected to an active carbon filter that connects to the chimney. The flue gas cooler is also connected to the chimney via a bypass valve in case of failure in the filtration system. All of this needs to fit into a technical room of roughly 9 meters by 6 meters. A process fan room is necessary for the flue gas filters to work properly. This needs to be about 35 square meters per oven. Since the fans produce a bit of noise, it is preferable if they have their own separate room. A control room is necessary from where the ovens can be monitored. Each oven needs a separate computer with two monitors. It is also appropriate that this room has the dual function of functioning as the crematorium technician’s office space. The ash needs to be processed after the cremation; bone fragments need to be ground up and any metal pieces, e.g. from prosthetics, needs to be removed, this is done in the ash processing room. In the ash processing room, there should be room for a cremulator, a processing station, and an ash pan cooler, so the room should be at least 3 meters by 2.4 meters. The deceased usually arrives several days beforehand. When the hospital or police have finished processing the body, the deceased need somewhere to go, so often they arrive up to 3 weeks before the ceremony. A morgue with a capacity of roughly 180 shelves is therefor necessary. A coffin reception that is connected to the drop off zone where the hearses unloads the coffin containing the deceased is also a must. Here we will need a trolley for moving the coffin as well as a computer terminal to log the arrival. In the event that a body has decomposed more than desirable, it is vital to have a freezer that will stop further decomposition and reduce the odor. A urn and coffin storage where replacement coffins, as well as empty and occupied urns can be stored is also necessary. According to Helgesson Kjellin et al. (2021), the average funeral in Gothenburg is attended by 42 mourners. Therefore, this is the minimum number of seats in any ceremonial hall, but it should also be noted that there is no upper limit, and the number of mourners vary greatly depending on culture and ethnicity, and is susceptible to changes over time. A Family room, where the deceased’s closest relatives can commune before the ceremony is a nice gesture and should be accommodated for if possible. A shop that sells wreaths and flowers is not a necessity per say, but it is fairly common that larger cemeteries accommodates one, and because of its location, it would be preferable to make space for such. But the building will not function on its own, it needs staff, and the staff needs staffrooms. We can estimate that we will need about 2 crematorium technicians and one crematorium manager to operate the ovens. We will also need rooms for 4 officiants, 4 funeral attendants, 3 groundkeepers, and 1 diener. Since the work in a crematorium and morgue can get quite dirty, we will need changing rooms with showers, as well as a washroom for work-clothes. We will also need a suitable lunchroom and a rest room for the staff, since working with bereaved families can get quite emotionally draining. They will also need office spaces, meeting rooms, and archives. Flows & Connections There are two main flows through the building; the deceased and the mourners. It is of the utmost importance that these only coincide in specific locations, that are carefully arranged. The deceased follow a route that is strictly regulated to ensure that absolutely everyone end up where they are supposed to. The mourners move through the building freely, but according to the sequence and progression of the farewell ceremony. It is quite a staged experience that must consider the significance of the atmosphere as a catalyst in the grief process and as an instrument to instill the right frame of mind. Mostly the mourner will be lead through the building within the context of the ceremony, but at branching points it is important that they do not happen to enter the wrong space, putting them in a state of embarrassment. To better understand the program, a diagram charting desirable, and undesirable, connections between rooms/functions were established. The diagram contains 4 degrees of connection; necessary, desirable, inconsequential, and undesirable. Rooms and functions were grouped by similarity and patterns started emerging, showing how different clusters of rooms and functions either attracted or repelled each other, laying a good foundation for future spatial organizing. 13 14 Site Analysis A site visit was carried out to better understand the site. During the visit notes were taken regarding possible pathways, rocky outcrops, and vistas. Multiple vistas were noted, especially towards the west with views overlooking Slottsskogen and Annedalskyrkan, and towards the north, with a great view overlooking Linnéstaden and skansken kronan, seeing all the way to Hisingen. The main plateau of the site is easily traversable with slopes ranging from 0% - 20% rise. The western slope towards Dag Hammarskjöldsleden is quite steep with slopes ranging between 15% - >100% rise, while the northern slope is only moderately sloping with slopes from 5% - 40% rise. Linnéplatsen is the primary hub for public transport in the vicinity, and during the visit a path was mapped that establishes a connection between the site and Linnéplatsen with an average rise of 15%. Though, it will not allow access for wheelchair users, it is easily traversed by the average pedestrian. South of the site, only 3 minutes by car, is Sahlgrenska Universitetssjukhuset, and right next to the parking garage is Rättsmedicinalverket; the Swedish government agency that is responsible for forensic chemistry, forensic genetics, and forensic medicine. This is very desirable since Sahlgrenska is the biggest hospital in the vicinity and many of the deceased will come from either here or Rättsmedicinalverket. There is also a need for a venue to cremate body parts that are removed during surgery, since they cannot be disposed of in any other way. If the crematorium could accommodate this need, it might be possible to have the ovens burning throughout the night; if you can have an oven burn a continuous period of 60 hours per a week rather than to re-ignite it every day, you can save up to 50% of the fuel (Valentijn et al, 2018). There were two rows of 60 construction barracks, stacked in two levels, that was used as student housing in the southern end of the site. Since these were temporary facilities, they were disregarded when moving forward with the project. There was a parking garage in three levels just east of the site. This garage was not well used, and it is situated below the main plateau of the site, with the top deck almost level to the main plateau. A walkway was proposed, linking the top deck of the garage with the main plateau to allow easy access for wheelchair users. Wheelchair users are also able to enter the site via the south entrance, but since the site is located on top of a hill, most wheelchair users would most likely arrive by car or taxi. STUDIES 15 16 STUDIES Study of Ceremonial Halls Holloway, Adamson, Argyrou, Draper, & Mariau (2013) explains that funerals exist primarily because of the enduring individual and social need to formalise loss and manage the transition from life to death. A funeral service is a complex composition of social practices that relies on implicit knowledge, bound to bodily performances and appropriate artefacts (Knopke, 2019). Funerals rely on the active participation of mourners, and the ritual demands their physical involvement. This usually entails familiar acts and artefacts such as condoling, carrying the coffin or urn, and the funeral oration (Knope, 2019). Studies show that the act of collective mourning allows the bereaved to better cope with the sorrow through an intensification of emotions. The grief builds civic bonds within the grief-community that aid the bereaved in their personal loss and creates an expectation of civic participation, further fuelling the grief process and facilitating a fulfilling experience (Wasserman, 1998). The death of a loved one often creates a deep sense of loss within the family. Sharing this misfortune establishes a social context where not only the kin become intimately involved and bring their feelings into the group. And even though this process is individual and unique, the grief- community brings individuals into the collective realm, creating a communal sense of loss, spurring feelings of belonging and kinship (Wasserman, 1998). As architects we cannot influence the course of the funeral directly, but we can study the room in which it unfolds and give it its best point of departure. Most ceremonial halls have their seating in a classic theatre arrangement. This arrangement feels familiar to most of us, and people can easily follow the ceremony as it unfolds in the front. But it establishes a certain degree of isolation and can create a sense of observing rather than active participation. This can be somewhat alleviated by employing the parliament arrangement, where emotional interchange is established between the two groups, that then should drive a stronger sense of participation. But this seating arrangement literary divides the mourners in two camps, creating a divide that is not desirable. My conclusion is that the centred arrangement is the best option. In the centred arrangement all mourners are treated like equals, it generates a strong sense of community, and it focuses the funeral inwards and onto the deceased. It would have been preferable to only have a single row of seats, but this would not yield a feasible ratio between number of seats in relation to the size of the room, so employing multiple rows was a decent compromise. Hybrid Parlament/Theater 132 seats Hybrid Centred/Parlament 111 seats Theater 119 seats Parlament 136 seats Centred 120 seats 20-2 5 10 20 Study of Ceremonial Halls 1:200 Hybrid Theater/Centred 133 seats 17 18 Study of Columbarium A columbarium is a structure that is used for the storage of cremains, in a reverential and respectful manner. It is usually open to the public and visited by bereaved friends and family in the same manner as a regular grave would be. A columbarium consists of multiple niches, called loculi, where the funerary urns are stored. Each niche is considered as a separate grave and provides space for one or more urns. Niches in a columbarium belongs to a category of graves with limited burial rights, meaning that the burial right holder has a restricted right when it comes to decisions regarding appearance and nature of the grave memorial and other aspects of the decoration and arrangement of the grave. On the other hand, they are exempt from the responsibilities regarding maintenance and care that comes with a full burial right (The Church of Sweden Employers’ Association, 2020). It is important that the columbarium is recognised as a meaningful and dignified public space if it is to become part of the city. That starts with the single unit; the niche. First it´s important to consider the vertical placement and its effect; On one hand, if it´s placed to low it will come into contact with the ground, and it will be perceived as dirty and undignified. On the other hand, if it is placed to high it will feel distant and out of reach for displays of affection and care. Therefor I have concluded that an appropriate span is between 40 centimeters above the ground to 240 centimeters high. Within this span multiple niches was stacked, and different configurations where evaluated, ranging from a single niche to five. My conclusion was that having just a single niche take up the entire vertical span is the most dignified option, it is very similar to the image of a regular grave, just vertical instead of horizontal, but it´s unfortunately not justifiable from an economic perspective. Therefor we need to stack niches in levels to make it economically feasible, and my conclusion was that it does not matter if you stack two, three, or even four niches, you will basically have the same effect. But when the front panel starts to lie horizontally rather than stand vertically, it feels cramped, so five levels is to much. Therefor I concluded that having four levels of niches is the most feasible option. STUDIES 5-1 0 21 Study of Columbarium 1:50 19 20 Study of Geometrical Morphing A recurring theme that you come across while studying the historical high points of funerary architecture is the use of symmetry and geometrical arrangements when designing memorials, tombs, mausolea, and cemeteries. This is not just true for the Western European tradition, where we find the Gothic chantry-chapels, Italian ossuaries, and1 British war-memorials, but is also true for Japanese memorials and Islamic funerary architecture, as well as prehistoric tombs. People have throughout time, and regardless of cultural, manifested a sense of formality and dignity by employing formal, symmetrical, and geometrical arrangements. It is an essential part of funerary architecture, and helps the architecture in achieving that sense of completeness, balance, and stillness that is afforded the best in funerary architecture (Curl, 2002) What I would define as the two pinnacles of funerary architecture especially used symmetry and geometrical arrangements as a way to instil repose and dignity, and those two are the ancient Egyptian mortuary chapels and the brain children of Étienne-Louis Boullée. Both present a solemnity and gloom that is very appropriate, as well as a massiveness and monumentality that suggest a structures that will last for eternity, providing a vessel for the deceased as he or she also becomes immortalised in a sense. Boullée’s style especially can strike you as quite modern in its simplicity and functionalism, but remote in its emphasis on regularity and symmetry (Curl, 2002). Therefore, symmetry and geometry became important parts of my toolbox in my pursuit of an appropriate architectural language and mood. I had already decided that I wanted a dome atop of a square base, so I wanted to investigate how the circle and the square could interact. I found that you could fill a square space in a fractal pattern by drawing a circle that touched all four sides of the square, and then adding new circles like apses until you have filled enough of the rectangle. I also found that by rotating a square around its own centre, you will gradually create a circular space in the centre. STUDIES Study of Geometrical Morphing 21 22 Study of Space, Sequence and Light It quickly became obvious for me that a large volume better encompassed what I wanted to achieve, and it also became apparent that the scale of things surrounding the occupant was important for setting the right mood. Therefore, all the doors have a slightly larger scale than usual, they are 2.5 meters instead of the usual 2 meters. This makes quite a difference for the occupant, as it makes them feel smaller than usual, but it also makes them perceive the building as big and solid, while it also felt more proportional to the scale and verticality of the rotunda. The entrances to ceremonial halls are even larger with a height of 3.25 meters, but still larger is the main entrance with a hight of 3.7 meters. Entering the building, I wanted the encounter with the rotunda to be a jaw dropping experience. This is mostly achieved by scale and lighting, but to further enhance this experience I made the corridor connecting the entrance with the rotunda the darkest and narrowest passage along the ceremonial route. This creates a sense of enclosure that later explodes into this otherworldly space that is the rotunda. The building moves you forward on its own since one room leads to the next. But the rotunda is a branching point, and since it would have been undesirable to enter any other space than the ceremonial halls, all other doors were pushed deep into the wall, removing them from the occupant’s perception, enveloping them in darkness. I first opened an 8 meter in diameter oculus in the dome and did an annual daylight analysis of rotunda to confirm that I had enough light coming in. I then perforated the dome with additional tubes of optical fibres. I was inspired by Boulleé’s Cenotaph for Newton and wanted to create something reminiscent of a starlit sky, or like the scattered light that filters through the crown of a tree. The ceremonial halls got a similar treatment as the rotunda, but with an oculus of only 4.5 meters in diameter. I also added windows to the ceremonial halls, but they are placed at a height of 2 meters, only allowing for a view of the sky, because I did not want the occupants to be distracted, or even aware of the outside world, I want them to be contained within that moment for as long as it lasts. The oven room is the darkest room. Here all the light is focused through a lantern above the cremator oven, flooding it with light while obscuring insignificant parts or the room in darkness. The only thing that matters in this room is the occupants encounter with the oven, and that is why the rooms only natural light source is pinpointing it. STUDIES Study of Space, Sequense, and Light 1:300 20-2 20105 23 24 Sunlight Analysis & Mass Balance For the cemetery to truly become part of the city, it has to attract visitors, and for this to happen it has to offer a pleasant microclimate. Apart from the obvious reasons to visit the cemetery, big public cemeteries tend to attract dark tourism; tourism focused on exploring locations associated with tragedy and death, not because of morbid fancies, but rather to learn about a place’s history. But, non the less, even grieving relatives prefer to mourn in a comfortable climate. To ensure that this was the case, a sunlight hours analysis was performed with Ladybug tools using Rhinoceros 3D and Grasshopper. The time period was set to measure the average sunlight hours over an entire year. Since slope and aspect had already been part of the initial raster calculation when choosing the site, I knew that the microclimate would be somewhat favourable. The analysis confirmed that the entire site receives ample amounts of sunlight, including the north facing slope since it is not steep enough to shadow itself, though placing structures here would potentially have a negative impact on the microclimate. Using this information, I decided to locate the columbarium on the west facing slope. Here it would receive ample amounts of sunlight during the afternoon and evening, as well as present a beautiful view overlooking Slottsskogen and Annedalskyrkan. To make this possible, the terrain had to be divided into plateaus, so large amounts of earth had to be excavated. Therefore, a cut and fill analysis were performed, and measures were taken to achieve an acceptable mass balance. Most of the excavated earth comes from the excavation of the columbarium, and some from the foundation of the crematorium. In total, 48,489 cubic meters of earth was excavated, and 44,085 of those was used on site, leaving only 4,403 cubic meters that had to be deposited elsewhere. Most of the displaced earth was used to create two plateaus on opposite sides of the crematorium where Bio Urns ® could be planted, and allowed to grow into trees, before the family would collect them. The rest was used to level out the northern slope, making it possible to establish a path between the site and Linnéplatsen that had a rise below 8%. STUDIES 25 26 Siteplan This site offers something unique that no other spot in Gothenburg offers; It is a large site of 55,000 square meters that is centrally located and unexploited, it is in close vicinity to both Sahlgrenska Universitetssjukhuset and Rättsmedicinalverket, and it is in close proximity to a large public transport hub, Linnéplatsen. Apart from that it offers a beautiful, very Gothenburgesque, setting on top of a hilltop with rocky outcrops and beautiful vistas overlooking both Linnéstaden and Slottsskogen. But, for the site to work, it had to be easily accessible from the central parts of the city. To make this possible I had to create a path that snaked up the northern slope. So I made a simple script that allowed me to calculate the slope of a nurbs curve in real time, allowing me to trace a winding path with a rise below 8%, connecting the site with Linnéplatsen. I also used this tool to create an accessible path that connects the southern parts of the site with Annedalskyrkan and Dag Hammarskjöldsleden, as well as making sure that all parts of the columbarium was accessible by wheelchair. The path that connects to Linnéplatsen is divided into a succession of paths and plazas. The plazas become destinations along the winding path up the mountain and offers a space to both rest and contemplate. Each of the plazas would contain a memorial garden were ashes are spread, a so called askgravlund, and artwork that would set each of them apart. But, they would still be similar enough that you would read them as a continuum and part of a narrative that starts at the base of the mountain and ends with the last plaza that is located inside of the building. As I mentioned on the previous page, a sunlight hours analysis was performed on the site, and I decided to locate the columbarium on the west facing slope. To make this possible, the terrain had to be divided into plateaus, so large amounts of earth had to be excavated. When trying to work out what the columbarium should look like, I looked at terraced vineyards and the Montjuic columbarium in Barcelona, Spain, for inspiration. To create the plateaus, large amounts of earth had to be excavated. Most of the displaced earth was used to create two plateaus on opposite sides of the crematorium where Bio Urns ® could be planted, and allowed to grow into trees, before the family would collect them. The rest was used to level out the northern slope and to create a path between the site and the top deck of the parking garage. I definitely believe that there is much more that could be done with the columbarium, but I had to manage my time, so the columbarium had to become more proof of concept than a fully fleshed out plan. DESIGN Siteplan 1:1500 100502510 2000 27 28 DESIGN Sektion W-E 1:500 5025105-5 0 Sektion W-E 1:500 5025105-5 0 29 30 Perspective of Building Elevated above the surrounding city, on the peak of Medicinareberget, a monumental building towers and stretches towards the sky. Almost like a temple in a Greek acropolis, and clearly visible from Linnéplatsen and Slottsskogen, it reminds us that death is always present and a part of life; remember those who went before us, do the best with the time that was given, and cherish your loved ones. Inspired by the designs of Étienne-Louis Boullée and his thoughts on architecture parlante, I set out to create a temple of death. I wanted the building to read as awe-inspiring, balanced, dignified, formal, grand, immovable, impervious, monumental, solemn, solid, venerable, and worthy. I also wanted the building to exude social cohesion and feel reliably solid when we ourselves are falling apart. Death is a process for both the dying and those left behind, and the spaces intended for it should offer solace and consolation, it should feel like an important space worthy of our loved ones and offer the unique feeling of purpose and continuity. My research into funeral architecture showed me that modernism often struggles when trying to grasp the subject of death; Heathcote (1999) argues that modernism might work for the architecture of the living, but when it comes to the architecture of the dead, we often find solace in the familiar embodiment of tradition and revert back to a more conservative aesthetic language. I wanted it to be recognisably classic in its proportions and design, but still interpret as a contemporary piece of architecture. It uses symmetry, balance, and geometrical formality to instil a sense of repose and dignity. It is striped of most ornamentation, but not to such an extent that it fells minimalistic; the process became a balancing act between being too sterile and too baroque. Death has often prompted an architecture that is stripped bare of ornaments, were only that which is necessary remains; post, lintel, and roof. And what I created might aptly be described as distorted classicism, where the expected vertical members are replaced by concave echoes, carrying the entablature on the void of nothing. It is a monumental building with monumental proportions; with a footprint of 2000 square meters, and a height of 24 meters, clad in black granite and crowned with a copper dome that is 26.6 meters in diameter, it is a colossal structure that suggests a durability and permanence that spans well beyond our own lifetime. Its placement in the terrain, were it sits partially submerged, further emphasizing the enormous burden the building exerts on its surrounding, both figuratively and literary. DESIGN 31 32 Elevation from South 1:200 20 20105-2 Elevation from West 1:200 20-2 5 10 20 33 34 Entrance plan There are two main flows through the building; the deceased and the mourners. It is of the utmost importance that these only coincide in specific locations, that are carefully arranged. The mourners move through the building freely, but according to the sequence and progression of the farewell ceremony. It is quite a staged experience that must consider the significance of the atmosphere as a catalyst in the grief process and as an instrument to instill the right frame of mind. As the bereaved enter the building, they go through a passage with toilets and cloakrooms on both side before they enter the rotunda. The rotunda is a branching point where they wait for the ceremony to commence. If they are next of kin, they may also choose to wait in the adjoining family room for added privacy. The bereaved then enters the designated ceremonial hall, either via the rotunda or the adjoining family room. As the ceremony concludes, they may choose between exiting the building via the rotunda directly or follow the deceased into the oven room and witness the committal before they exit the building. The cremation process takes about 75-90 minutes, so the next of kin may choose between waiting for the process to finish, so they can follow the cremains as they are moved to their spot in the columbarium, come back at a later time, or let the staff handle it on their own. Aside from the public spaces, there are also some staff areas on the entrance floor. Next to the oven rooms we find control rooms from where the crematorium technicians monitor the operation of the ovens, as well as an ash processing rooms, where the cremains are prepared before going into the urn. This includes cooling down the cremains, removing everything metal, and grinding down any recognizable bone fragments. Along the northern façade, in the middle section, we find offices and a meeting room, as well as an elevator that connects to the basement. This part of the building is not open to the public and is used by the staff to hold meetings, administrate the daily affairs of the crematorium and its staff, and receive those in need of consultation regarding their own or a loved one’s funeral. Also worth mentioning is that even though the rotunda is enveloped by the building, it is still technically an outdoor space, with insulation in the supporting wall, and floor heating to make it comfortable, relatively dry, and traversable regardless of season. The floor is heated with residual heat from the cremator ovens DESIGN 20105 Entrance Plan 1:200 -2 20 35 36 Section N-S One of the most striking features of this design is the grand condolence hall that I have chosen to call the rotunda. Since this is designed for a northern country, artificial lighting was necessary to consider. This lighting is predominantly located underneath the majestic beech tree, shining upwards and illuminating the dome from below. But, during the parts of the year when there is ample sunlight, I wanted to rely on as much natural light as possible. Therefor I performed an annual daylight simulation using Honneybee, Ladybug, Grasshopper, and Rhinoceros 3D. I constructed a Honneybee model using Rhinoceros 3D volumes and Grasshopper, and used Ladybug to calculate the amount of time that the sun would illuminate the interior above a threshold value of 300 lux. I found that with an 8 meter in diameter oculus, the interior would receive over 300 lux of sunlight 60% of the time. Another striking feature of the design are the pilasters that shoot out and flow along the curvature of the dome. The pilasters are simply a projection of the geometrical configuration of the floor tiles, but it creates a décor that is both evocative and dramatic, that feels both balanced and intricate. The pilasters give both life and boundary to a surface that would otherwise feel boundless and undefined, but they also enforce balance and stillness, and creates a dialog between the wall and the floor. The reason why the rotunda can be both dramatic and tranquil at the same time is because its symmetrical, and therefore predictable. According to Curl (2002), symmetry and the use of powerful geometries have been part of the architectural language of death ever since humans started erecting tombs and mausolea in the prehistoric and classical era. It is the serenity and sense of repose that arises when inhabiting a geometrically strict and symmetrical space, the balance and stillness of such funerary architecture that contribute to the perfection and the monumentality of such designs. Clearly visible in this section is the magnificent beech tree that inhabits the centre of the rotunda. Beech trees are known for their shade tolerance, that they can grow in full shade and thrive in dense forests. The reasons why there is a tree on display in the rotunda are numerous: Trees are often used as symbols to represent life and growth in mythologies, it also holds specific significance within this project because of the arboretum. Also, research have shown that people find it soothing to look at plants and nature, and lastly it promotes this narrative of being in ‘another world’, cause when do you ever see a 10 meter tree inside a building. DESIGN -2 10 20 Section N-S 1:200 20 5 37 38 Perspective of Rotunda I defined three key encounters that the occupant would have as the ceremony moved them through the building, the first of those encounters would be with the rotunda. I wanted the encounter with the rotunda to be a jaw dropping experience. This is partially achieved by scale and lighting, but to further enhance this experience I made the corridor connecting the entrance with the rotunda the darkest and narrowest passage along the ceremonial route. This creates a sense of enclosure that later explodes into this otherworldly space that is the rotunda. But to only accredit the otherworldly experience of the rotunda as an effect of its imposing scale would be overlooking all the effort that went into creating a cohesive visual poetic language and the symbolisms that offer solace and consolation, and turns it into this important space that is worthy of our loved ones and offer a unique feeling of purpose and continuity. I wanted the symbolism to be non-religious and numerous, so that whoever needed could find their own personal meaning. The perforated dome could be interpreted as a starlit night sky and the oculus as the moon, and you would leave the daylight behind as you enter this space that exists in perpetual night. Another interpretation could be that the pilasters represent trees, and the perforated dome is the scattered light that filters through when sunlight hits the tree canopy. In this interpretation the oculus would represent the sun, and instead you would enter a space that exists in perpetual light. The point is that regardless of whether you interpret the rotunda as a space in perpetual nighttime, perpetual daytime, or neither, it is a space that is interpreted as distinctly different compared to the regular world, a world that you can enter or exit as you please. Another aspect of the rotunda to consider is that it is the only branching point, and since it would have been undesirable to enter any other space than the ceremonial halls, all other doors were pushed deep into the wall, removing them from the occupant’s perception, enveloping them in darkness. DESIGN 39 40 Perspective of Ceremonial Hall The second encounter that the occupant would have as the ceremony moved them through the building would be with the ceremonial hall and the deceased. The ceremonial halls are very reminiscent of the rotunda, but on a much smaller scale. They are still quite monumental in their verticality, with a dome of 12.5 meters in diameter, and an oculus of 4.5 meters in diameter that is 10.6 meters above the floor. But, with a room that is only 12.5 meters across, you get a much more intimate space compared to the vastness of the rotunda, and it is this dual nature of being both monumental and intimate at the same time that makes the ceremonial halls exceedingly successful. The ceremonial halls only serve one purpose, to be an appropriate container for the ceremony, this is achieved in a two ways. Firstly, the ceremonial halls achieve a very desirable atmosphere by relying on an archaic expression of monumentality that is somewhat reminiscent of gothic architecture, but actually moves you even further back to the tholos tomb of Mycenae, or even Maeshowe, a remarkable chambered cairn tomb from the neolithic era. Many of the greatest works of funerary architecture rely on that return to the archetypal form. I imagine this is because it is comforting when the design stands firmly rooted in history; it suggests a durability and permanence that spans well beyond our own lifetime. Secondly, both the floor pattern and the shape of the room plays an intricate part of directing the ceremony inwards. Just like the rotunda, the ceremonial hall is a circular space that fills a square through the use of apses. The flooring is the opposite, a square, rotated around its centre to envelop a circle. The symmetrical and circular nature of the space is ideal for the purposes of rituals; the circle holds a lot of symbolic meaning, e.g. the circle of life and the passage of time. It represents all things limitless like the idea of eternity, and things that has no beginning or end. But, while the circle has no beginning or end, one thing that it does have is a centre, and the centre of a circle is its most potent position, a position in total balance and tranquillity. This means that placing the departed in the centre of a circular space not only places them at the focal point of the entire room, but it also positions the bereaved in an orbit around the deceased. I believe this to be the ideal seating arrangement for any funeral ceremony as it treats the bereaved as equals, it generates a strong sense of community, and it focuses the funeral inwards and onto the deceased. DESIGN 41 521-1 Section of Ceremonial Hall 1:50 0 521-1 0 Elevation of Ceremonial Hall 1:50 42 43 44 Perspective of Oven Room The third and final encounter that the occupant would have as the ceremony moved them through the building is with the cremator and the oven room. When designing the oven room, there were only one thing in my mind; to set the stage and make the meeting with the cremator oven as impactful and evocative as possible. The oven room is probably the room that I had the clearest image of even before I started to design it. I wanted the material pallet to be very restricted, avoiding any unnecessary cluttering, and warm, almost burning. In the centre of the room, between the dynamic turmoil of convex walls, stands an oven made from burnished copper, freestanding in space, like a stately tomb monument. The entire room speaks of its grandeur and deforms around its presence, almost like its enormous weight is altering the gravity, pulling the walls towards it, and pulling us into the room. Above the oven sits a square lantern that penetrates the roof and floods the oven with light from above. The lantern is clad in the same burnished copper as the oven and relates to it in size and proportion. They together create a unit that becomes both vessel and portal to the afterlife. It is a shining beacon that should resonate with just about everyone, regardless of religion, and impart an image of how the body does not disappear into the darkness, but rather into the light. The room is perfectly symmetrical in two axes to create a strong sense of balance and integrity. Everything in the room shares a cohesive architectural language, e.g. the doorframes are also clad in the same burnished copper as the oven and the lantern, and penetrating the brick wall in the same manner as the lantern, establishing a unified architectural language that envelops the entire room. All for the single purpose of containing the occupant within that important moment. Since the oven room is shared by two ceremonial halls I had to think outside of the box. I needed an oven that was chargeable from both sides. Sadly, there is no such oven readily available on the market. But, through communications with manufacturers, I was assured that such an oven would be possible to manufacture. DESIGN 45 46 Basement plan Unlike the entrance floor where the primary objective is to provide the visitors with a meaningful experience, the basement of the complex is all about efficiency and control. This floor is not open to the public and is a strictly regulated area that ensure that absolutely every deceased person end up where they are supposed to. The deceased arrives via a tunnel that connects to the parking garage. As they arrive, they are unloaded, logged, and placed in either the morgue or the freezer, depending on what state they are in. They usually arrive up to 3 weeks before the ceremony, so a big morgue with 180 shelves have been proposed in the circular room beneath the rotunda, a solution that was both beneficial due to its central location and because the walls were already thick enough to accommodate the extra insulation. Also in the vicinity of the coffin reception is a urn and coffin storage where replacement coffins, as well as empty and occupied urns can be stored. There is also an elevator that connects to the staff area of the entrance floor as well as an accessible toilet. On opposite sides of the morgue, we find technical rooms that houses the flue gas filters and process fans. We also find rooms for an industrial sized diesel generator, of 100 ekW, as well as a room for the oil tank, with a capacity of 15,000 l, which ensures a stable reliable operation of the cremator ovens. There is also elevators on both side of the building that is used when transporting the deceased from the morgue to the ceremonial halls. But the building will not function on its own, it needs staff, and the staff needs staffrooms. The staff entrance is located in the northwestern corner of the complex. The staff entrance connects to a staffroom that in turn connects to the staff kitchen. Exiting the staffroom, you entre a corridor that connects to two changing rooms with lockers and showers, a washroom for work-clothes, and an archive, were important documents concerning the daily operations and funerary wishes can be stored. DESIGN Basement Plan 1:200 G TTTS TM TM G G G K K DM 20-2 5 10 20 47 48 THEORY Atmosphere Peter Zumthor (2006) propose that atmosphere is perceived through our emotional sensibility, and it happens instantaneous when we experience space much like the first impression of a person. Atmosphere refers to the sensorial qualities of space, specifically those that stimulate emotional responses. Zumthor (2006) proposes nine qualities to consider that he works upon to generate atmosphere in his designs, and I have tried to implement these to make educated decisions in regard to my own project. Not all the qualities where relevant for this project, so I will focus on the ones that were and describe how I worked with them. Material Compatibility - How combining material can create something that is greater than the sum of its parts, and the endless potential in processing materials (Zumthor, 2006). Even though I wanted the project to feel cohesive, I believed that the oven room should stand apart from the rest. If your have the same dish over and over you will soon lose your appetite towards it, and I believe that there are three important moments in the spatial sequence of this project; when you enter the rotunda, when you enter the ceremonial hall, and when you enter the oven room. I believe that it is preferable if the rotunda and ceremonial hall share the same DNA, because an echo of that grandeur will live on beyond the transition of spaces, elevating the ceremonial hall even further than it could on its own. But the oven room represents the end of the ceremony, its culmination, and it should be emphasized. Here the room ties into itself and uses a very strict design scheme. All the exits of the oven room is surrounded by burnished copper, including the oven. The red tint from the copper is picked up in the brick walls and floor tiles, and the dynamic geometry becomes even stronger because the bricks make the curvature easy to read. The Sound of Space - How interaction with material generates sound, and geometry can either amplify or diminish it (Zumthor, 2006). I wanted the rotunda to have a similar soundscape to that of a cathedral, since I believe that is what we expect from this type of setting. This was achieved naturally because of its size, shape, and material palette. The Temperature of Space - The temperature of the space and how certain materials almost extract the warmth from our bodies (Zumthor, 2006). Here I wanted to create something paradoxical; I wanted to use stone, concrete, bricks, and burnished copper, but those are all perceived as quite cooled materials, and I wanted something warm, that felt comforting, like an embrace. So, I used the residual heat from the cremator ovens to heat the building via a UFH system that also heats part of the wall. Even the rotunda is heated, but this is to help keep the ground snow and ice free during winter, since this is actually an outdoor space. Between Composure and Seduction – How movement through space is directed by the architecture (Zumthor, 2006). This quality is very important in this type of building that attempts to create ceremonial sequence, and for the most part, the building moves you forward on its own since one room leads to the next. But the rotunda is a branching point, and since it would have been undesirable to either enter any other space than the ceremonial rooms, all other doors where pushed deep into the wall, removing them from the occupant’s perception, enveloping them in darkness. Tension Between Exterior and Interior – The incredible sense of place, an unbelievable feeling of concentration when we suddenly become aware of being enclosed (Zumthor, 2006). I wanted the encounter with the rotunda to be a jaw dropping experience. This is mostly achieved by scale and lighting, but to further enhance this experience I made the corridor connecting the entrance with the rotunda darkest and narrower passage along the ceremonial route through the building. This creates a sense of enclosure that later explodes into this otherworldly space of the rotunda. Levels of Intimacy - Size, dimension, and scale, the buildings mass in contrast with the human body. The view that a human scale has to be more or less the same as us is over simplifying it (Zumthor, 2006). My work with this quality has been quite extensive. I believe that it is important for this kind of building to be perceived as monumental, otherworldly, and with a certain dignity and grandeur. I started my process quite early by comparing the effects of having on large volume compared to multiple smaller ones. I did this by collecting adjectives that would describe these volumes, and then comparing what option most resonated with what I was trying to achieve. The adjectives I found for multiple smaller volumes were: Familiar, human, intimate, informal, ethereal, and personal. The adjectives I found for single large volume was: Monumental, worthy, dignified, solemn, authoritarian, impervious, formal, grand, immovable, solid, awe-inspiring. It quickly became obvious for me that a large volume better encompassed what I wanted to achieve, and it also became apparent that the scale of things surrounding the occupant was important for setting the right mood. Therefore, all the doors have a slightly larger scale than usual, they are 2.5 meters instead of the usual 2 meters. This makes quite a difference for the occupant, as it makes them feel smaller than usual, but it also makes them perceive the building as big and solid, while it also felt more proportional to the grand scale and verticality of the rotunda. The entrances to ceremonial halls are even larger with a height of 3.25 meters, but still larger is the main entrance with a hight of 3.7 meters. The Light on Things – Envision the building as a pure mass of shadows that is hollowed out by the light. Recognize the superiority of daylight versus artificial light (Zumthor, 2006). This is exactly what I did. I first opened an 8 meter in diameter oculus in the dome and did an annual daylight analysis of rotunda to confirm that I had enough light coming in. I then perforated the dome with additional tubes of optical fibres. I was inspired by Boulleé’s Cenotaph for Newton, I wanted to create something reminiscent of a starlit sky, or like the scattered light that filters through when sunlight shines through the crown of a tree. The ceremonial halls got a similar treatment as the rotunda, but with an oculus of only 4.5 meters in diameter. I also added windows to the ceremonial halls, but they are placed at a height of 2 meters, only allowing for a view of the sky, because I did not want the occupants to be distracted, or even aware of the outside world, I want them to be contained within that moment for as long as it lasts. The oven room is the darkest room. Here all the light is focused through a lantern above the cremator oven, flooding it with light while obscuring insignificant parts or the room in darkness. The only thing that matters in this room is the occupants encounter with the oven, and that is why the rooms only natural light source is pinpointing it. Study of Space, Sequense, and Light 1:300 20-2 20105 49 50 Et in Arcadia ego by Nicolas Poussin (Poussin, 1628) Et in Arcadia ego by Giovanni Francesco Barbieri (Barbieri, 1618) THEORY But lesser classes were still buried in common grave pits, and as the segregation between classes began shrinking, a demand for similar treatment was called for. This was even further intensified when Willem the Stadhouder brought the customs of Holland with him, where churches functioned like enormous public mausolea, when he came to reign over Britain (Curl, 2002). When the ideal of the individual gained traction during the reformation, the concept of the individualised and personal memorial became an important outlet for displaying affluence and artistic finnes in Norhten Europe (Curl, 2002). This led to a piling up of sculptures and familiar architectural motifs within the churches that were more often than not shallow, ostentatious, and even vulgar. This did not stop until the Church Law of 1686 was passed in Sweden, a law that prohibited the erection of tombs that would interfere with worship. But people still wanted to commemorate themselves, so they started producing beautifully composed mural tablets, that coincided with Netherlandish custom that now had become common place in Britain. Many of them were in the form of floor-slabs, but we also find a lot of mural wall monuments during the 17th century, often in the form of aedicules, with an arched niche containing praying effigies (Curl, 2002). During the 18th century the growth of the Swedish population was so great that the capacity of the old churchyard’s was stretched to their limits, bodies were not decomposing quickly enough (Grönwall, 2017). Overcrowded graveyards led to decaying matter getting into the water supply and causing epidemics, so charnel houses where erected