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| WEEK 2
A. Memory, Human Experience of Death, B. Subject Proposal: For thousands of years man was master of his death, and the circumstances surrounding it. Today nothing remains either of the sense that everyone has or should have of his impending death, or of the public solemnity surrounding the moment of death. What used to be appreciated is now hidden. Modern society has deprived man of his death. Nowadays, society does not allow the living to weep for the deceased or to miss them. We, therefore, need to reestablish the funerary ritual. This proposition may seem awkward for an era that treats death with “so much secrecy, so much dissimilation, so much awareness of its uselessness”, as stated by Rafael Argullol (The last house. Gustavo Gili publisher: 1999.) In other words, we live in an era of fear. However if we think about this idea, we will understand that it is a real necessity in order to accept death, even more so today. As Rafael Argullol said: “We cannot let suicide cut the veins through with the blood of memory circulates. We ought to honor the dead. Not so much for them but for us.” Although traditional belief in ancestor ship may have become less pervasive, due to modernization, the importance of living on by way of being remembered by one’s family members and community is still very strong. However this is not emphasized enough in the current, modern, funerary architecture. We need to design spaces in which the deceased will remain alive. It is known that an object keeps the memory or the recollection of an absent person alive. We need to give shape to the feelings, passions and sufferings of other people. Furthermore, a positive confrontation with death can be seen as a personally liberating experience. Peter Koestenbaum said: “it can help us develop our individual identity and give us the security we need to live our lives courageously.” (Lofland, Lyn H. The craft of dying. The modern face of death. Sage: 1978) The ultimate goal of the work would be to remember without emotional pain and to be able to reinvest emotional surpluses. This idea of “positivity” could involve three interrelated assertions: 1- that the dying process may be the occasion for self-improvement and personality “growth” for the dying person; 2- that the grieving may be the occasion for self-improvement and personality “growth” for the family and friends of the deceased; and 3- that death itself may be blissful, serene, and pleasurable. We need to find a way to bring back this idea of memory and try to integrate it in the actual funerary architecture. Before people felt the need to build “monuments” in the remembrance of the one they loved or admired, in order to make them live forever. Will there be a modern way to deal with this transition from being a person in the community to being remembered as a person by the community? Is it possible to integrate the “memory” right from the beginning of the funerary rituals and make it continue long after? Does the idea of “memory and architecture” need to be adaptable to the various religions? Can it be shared by different groups of people? C. Subject Content-method of research: (please note that what will the thesis try to explore is further emphasized at the end of each sub heading’s paragraph) I. Sub headings in relation to the primary reference sources 1. Kastenbaum, Robert. Death, Society, and human experience. The primary reference source addresses many Sub headings but two in
particular: Before bringing changes to the existing funerary rituals and architecture,
one Furthermore, the book holds that the funeral process does serve important human needs, but that the process could be improved. In fact, traditional commercial funeral process does not always meet the modern needs adequately and the book suggests exploring different alternatives. The book actually comes up with a few alternatives. Therefore, the thesis would try to explore different alternatives to commercial funeral process. Function, site, and spaces are directly linked to the process, so the one offered today will have to be studied in details in order to modify them. Meeting with funeral home owners, as well as psychologists to understand what modern people need will be part of the research. 2. De Witte, Marleen. Long Live the Dead!. Aksant: 2001. The primary reference source addresses mainly three sub headings: The book talks about the importance of being remembered and how death can be seen as the transition from being a person in the community to being a person remembered by the community. Emphasis is put on the fact that death and the ceremony around it is the most crucial moment in the way people will remember the deceased. “How you appear at your funeral will largely determine how you will live in the memory of your people”, is an important fact raised by the author. In this case the author suggests a rite of passage which must make the transition possible, but this particular kind of memory refers to the person as an image. The author also makes the distinction between memory and history. As opposed to history, memory takes its roots in the concrete, in spaces, gestures, images, and objects and the book clearly make this difference. The process of self-immortalization is in a way a continuation of someone’s life. The author talks about the importance of photographs and how a portrait could almost become an object of religious worship. Lastly, music and dance as a way to express emotions while paying respect to the deceased is another form of transition which will remain in our memory. Since the way we appear at our funerals determines how people will
remember us, study will have to be done on how we present the deceased
to the family. What could be change to the actual process in order to
further emphasize the idea of “memory”? The thesis would
explore how we can emphasize the transition from being a person from
the community to a person remembered. The primary reference source addresses the sub heading: The book states different examples that are considered memorable places, as well as explaining how the architecture of these places succeeds in becoming memorable. The author goes further by saying that people care about buildings if there is some meaningful order about them and their places. Memorable places are the ones that can establish a connection between what we know, believe and think. Moreover, if the architecture can create a sense of community or of groups of people, as well as offering some sense of drama, of transport, of tension, so that the involvement is perpetual, than we are creating buildings and places that have a meaning to people. Therefore, they will be able to associate themselves to it and create individual identity or spirit. The book gives example of how the experience of being in a place is more than simply visual and is usually as complex as the image of it which remains in our memory. We need therefore to create a sense of “place” in order
to make it memorable. 1. Crematorium, chapel and Auditorium Beukenhof, Schiedam, 2004 The formal example addresses 2 sub headings: The project is intended to be used by various religious groups that make up the cultural tapestry of modern day. In order to serve the different types of rituals that accompany a diverse range of religions and secular events, the architecture of the Beukenhof project offers an abstract and interpretive backdrop to funeral ceremonies. This is without mentioning that the form of the architecture itself provides a fluid sequence of spaces for the gathering of family and friends to participate in the celebration of the life of the one they loved and/or admired. The proportion of spaces, as well as their forms, changes and are manipulated in a way to accommodate different scales of gatherings and to address the various needs for intimacy and tranquility. In other words, like in the Beukenhof crematorium, chapel and auditorium, we need to promote the idea of “social memory” while reinforcing the identity of the different group of people.
2. Alfred Dallaire funeral home, 4231 Boul. Saint-Laurent, Montreal The formal example addresses 2 sub headings: First, the Alfred Dallaire Memoria says a lot about the complex itself and what it is trying to achieve: “Chaque vie est une histoire. Chacun laisse des traces, chacune ouvre des chemins. Chaque vie est une histoire qui mérite d’être racontée, célébrée. Jamais oubliée” (http://www.memoria.ca/). The funeral complex embodies two different kinds of spaces which correspond to two important moments which are complementary to the ritual of funerals: the homage to the deceased and the sharing of a meal allowing the people in mourning to share feelings and emotions which reinforce every individual’s ability to continue on with their life as happy human being. The design of the complex is both and at the same times a place of “meditation” and of mourning, as well as being a consultation and educational centre open to the entire community. The complex, through its program, emphasizes the importance of educating the society towards death and the different funerary rituals. The principal space of education being the small café where one can find a variety of books about death and rituals for the children and adults, or meet with a psychotherapist. The complex also provides certain flexibility in order to make the place more private at some times and more public at others. In other words, the Alfred Dallaire funeral complex touches upon a new funeral rituals which allows people to educated themselves about death and uses “memory” as a way to bring people closer together and build stronger relationships, as well as a way to “honor” the deceased. The thesis will then try to explore ways of educating people towards death as well as the way we honor the deceased. Since more people are less believers, the way we honor deceased should be thought carefully to respond to our modern needs. 3. Flight 93 Memorial project, Pennsylvania, USA The formal example addresses the sub heading: The Flight 93 National Memorial’s mission statement is: “A Common Field One Day, A Field of Honor Forever. May all who visit this place remember the collective acts of courage and sacrifice of the passengers and crew, revere this hallowed ground as the final resting place of those heroes, and reflect on the power of individuals who choose to make a difference.” Right at the beginning, at the entrance of the project, the architect puts the emphasis on the importance of “memory” in the lost of people we love and/or admire. Therefore, how we enter a site will set the mood of the rest of the journey. In the Flight 93 National Memorial, a “tower of voices” marks the entry to and exit from the park. The tower houses forty white aluminum wind chimes as a metaphor to the forty men and women who have died on September 11. The architect says that the continuing songs of chimes in the wind celebrate “a living memory” of those who are honored. The memorial is also part of the everyday life of the people living in the area or driving by because the tower is tall enough to be seen from the highway. In a way, it therefore integrates the deceased in the life of the living. Should that also be done with other type of funerary architecture? One of the basic concept of memorial is that is last forever and invites people all year long to honor and remember the deceased. This is further emphasized in the Flight 93 Memorial project by the blooming of different kinds of flowers at different time of the year. Why shouldn’t we try to adapt this concept to funeral complexes? Why can’t we have “memories” of people who lived a “normal life”? At least their life could be honored for the community they belong to? The memorial also offers a sense of intimacy because part of it is
only open for ceremonies and family visit; this area is found in what
the architect’s called “the sacred ground”. The thesis
should also explore the intimacy of spaces that are part of the collectivity
of a place. In other words, explore the interplay of intimate and public
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