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TRANSFORMATIONAL CREMATORIUMTRANSFORMATIONAL CREMATORIUMRODNEY CUDMORERODNEY CUDMORE

Masters Studio C:Concrete ThinkingBoston Architectural CollegeFall 2010Instructors: Kevin LossoDuration: 12 weeks

This studio explores the ma-teriality of concrete, using the typology of the crematorium as a design premise.

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Using this section of “Son-nets to Orpheus” by Rilke, this project explores notions of Di-rectional Transformation and phenomenal transparency.

There is a complex relation-ship between the original Ger-man words “uberhaupt uber-steht” which mean “is about all about” (uber = about). Rilke uses a pun to compare ‘physical survival’ and ‘ex-istential existence’ (or tran-scendence?) in both words.

“ANTICIPATE ALL FAREWELLS, AS IF THEY WERE,“ANTICIPATE ALL FAREWELLS, AS IF THEY WERE,

BEHIND YOU, LIKE THE WINTER YOU JUST WEATH-BEHIND YOU, LIKE THE WINTER YOU JUST WEATH-ERED.ERED.

BECAUSE AMONG ALL THE WINTERS THERE IS BECAUSE AMONG ALL THE WINTERS THERE IS ONE SO ENDLESS WINTER,ONE SO ENDLESS WINTER,

THAT, OVERWINTERING IT, YOUR HEART PREVAILS THAT, OVERWINTERING IT, YOUR HEART PREVAILS

ALTOGETHER.”ALTOGETHER.”

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One of the most influential factors on the immediate site is the presence of many ma-ture trees of various species. Different trees, depending on whether they are conifer-ous or deciduous will create different site conditions sea-sonally. The fall colors of the deciduous trees are golden, brown, and deep red, whereas the conifers do not change. This means that although some aspects to the site are constantly changing, others remain constant.

The most compelling aspects of the site can be assessed sectionally. The changes in el-evation create a distinct sepa-ration of the different 'ground planes' This condition is in-teresting because in order to connect to another ground plane, one must redirect their gaze above or below the typi-cally horizontal plane that one has become accustomed to using in order to understand the surrounding environment. Also, some of the cemetery's largest trees are located in close proximity to the site. The changes in topography allow various relationships to the height of these trees, which can be as tall as eighty feet high. Being at the top of the hill changes one's view of these important elements around the site.

Picrasma Quassiodes

Davidia involucrata

Cedrus Libani

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The spaces were arranged to allow for parallel movement through each system, as one of the aspects of the poem reflected the fact that awareness of other realities actually facilitates the transformational process.

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ENTRY PORTS

RRRRRRRRRRRRRRRRRREEEEEEEEEEEEMMMMMMMMMMMMMMMMMMMMMMMMMMMMEEEEEEEEEEEEEEEEEEEEEEMMMMMMMMMMMMMMMMMMMMMMMMMMMBBBBBBBBBBBBEEEEEEEEEEEEEEEEEEEEEERRRRRRRRRRRRRRAAAAAAAAAAAAANNNNNNNNNNNNNNNNNCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCEEEEEEEEEEEEEEEEEEEEEEEEEEEEE

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SSSSSSSSSSSSSSSSSSSSSSSPPPPPPPPPPPPPPPPPPPPPPPPPPPPPAAAAAAAAAAAAAAAAAAAAAAAACCCCCCCCCCCCCCCCEEEEEEEE

WAITING A

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CCHAPEL SPACES

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EXIT

The project challenges the notion of indoor and exte-rior, by separating the tra-ditional part of the building envelope into different zones. The tubes, where the services will be held will be environ-mentally conditioned, while the interstitial spaces will be sheltered from the elements, but will not be conditioned space.

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P - Porte CochereC - Chapel SpaceW - Waiting AreaR - Remembrance SpaceA - Ancillary Spaces

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The formal expression of this project explores the place of the inhabitant amongst the structure. The idea of the wall dissembled allows for the in-habitation of interstitial spac-es and the reinterpretation of poche space.

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Initial explorations of the spatial massing utilized algo-rithmic software to develop between the tubes and to the environment. Ultimately this massing model was discarded in lieu of a more controllable geometry but benefited the process as a means to quickly evaluate various design op-tions. The effects of these tests is evident in the arrange-ment and circulation in the fi-nal design.

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The form of the tubes was based on the concept of creat-ing joined, not separate spac-es. The profile is an adjusted pentagon, which allowed for interesting intersections with the adjacent tubes, and the desired sweeping height of the interior spaces.

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ROTATE MAIN SUPPORTS

BUILD INNER AND OUTER FABRIC

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The four chimneys in the proj-ect are sculptural elements that are made of concrete and precast offsite. Using a form-work ‘machine’, The process will allow a high degree of differentiation of parts, while using a common formal lan-guage. Once placed on site, the top is cut to become flush with the building skin.

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LOCATE SPACERS BUILD SPACERS

PLASTIC FLEXIBLE WASHER

TEFLON FABRIC

6” PLASTIC SPACERW/ REMOVABLE FLEXIBLE

FLANGES, FOAM RIMAND STEEL CORE

LIGHTWEIGHT CONCRETEW/ FIBERGLASS ADMIXTURE

HHS STEELSTRUCTURAL FRAME

Formwork Section Detail

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In order to explore the materi-ality of concrete, two methods of concrete design are utilized in order to address the differ-ent design goals of each com-ponent. The foundation and tube bases are poured in place and some of the formwork is left in place, exposing the method of construction to the users.

Rendered Wall Sec-tionShowing Materials

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WHITE BATT INSULATION

POLYURETHANE WALL PANELACTING AS VAPOUR BARRIER

1/2” GALVANIZED STEEL BOLTFASTENNED WITH NUT

CAULKING

3/4” STEEL REBAR

LIGHTWEIGHT CONCRETEPOURED IN PLACE

EPOXY SEALANT

WEATHER BARRIER

EXPANDED STAINLESS STEEL OUTER SKELETON

1/2” GALVANIZED STEEL BOLTANCHORED WITH EPOXY ADHESIVE

1/16” COPPER FLASHING/W/ DRIP EDGE

2” ROUGH TIMBER FORMWORKSANDED AND STAINED

4” RIGID INSULATION

1/2” THREADED ROD ANCHORFASTENNED WITH NUT

VAPOUR BARRIER

Wall Section Detail

The upper portions of the enclosures are a custom composite wall solution of expanded polished stain-less steel skeleton with soft, translucent polyurethane panels fastened to the inte-rior. The finishes used in the project reflect the site as well as the idea of overwintering. The wood form is made of red oak, a tree found in close proximity to the site. The col-ors of the deciduous trees in autumn are inspiration for the polyurethane inner panels of the tubes, to evoke the idea of overwintering.

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The structural system will at-tempt to maintain the design intent of the project. In order to do so, the cantilever effect of the pathways must be pre-served through strategic use of structural members. The base supporting elements are constructed of concrete and introduce a new design lan-guage into the project, juxta-posing rectilinear elements with the polymorphic forms of the ‘tubes’. These load bear-ing elements are used as foun-dations on which to bear the horizontal steel members.

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44’ 28’

34’

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POURED CONCRETE BEARING WALL

POURED CONCRETE BEARING WALL

Shear Wall

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40FT UNIFORM LOAD

35FT UNIFORM LOAD

WIDE FLANGE STEEL GIRDERMIN 12” BEARING ON WALLS AND MOMENT CONNECTIONS

Load Upper LevelW1 = [Dead Load + Live Load + Self Load] x Safety Factor

= [(130cu.ft. x 100lb/cu.ft.) + (80lb/sf x 260sf )+ (26ft. x 12 lb/Lf )] x 125% = [13,000lbs + 20,800lbs + 312lbs] x 1.25 = 43 Kips of Force

Load Lower Level W2 = [Dead Load + Live Load + Self Load] x Safety Factor

= [(110cu.ft. x 100lb/cu.ft.) + (80lb/sf x 220sf )+ (22ft. x 12 lb/Lf )] x 125% = [11,000lbs + 17,600 + 264] x 1.25 = 36 Kips of Force

Total Load WT = 43 + 36 = 79 Kips

Critical Buckling Load of Column A [W10x12]Effective Length of Column Fixed at Both Ends = 12ft x 0.5 = 6ft w third point bracing

PCR = π2 E I / L2 = (9.86) (29.6 x 106 lb/in2 ) (2.2 in4 ) / 5,184 sq.in.= 124 Kips

Therefore, the selected W10x12 Column is sufficient to support the load.

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Different than a traditional crematorium, the building functions are not hidden, but rather open to view. This de-cision is based on the Rilke’s view that knowledge is a means by which on can gain peace of mind. These con-siderations result in a very porous and sublime design while accommodating ancil-lary spaces in adjacent sup-porting structure. Light is filtered through the various layers and openings, reflect-ing off the various materials, creating interesting patterns and colors. One can see in the crematoria in the lowest lev-el, the effects of this.

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