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FLOATING CEMETERY

Repairing the lost bond

Team information:

• Name + Surname: Fabián Leiva
• Nationality: Chilean
• Institution: University of Chile

FLOATING CEMETERY

Repairing the lost bond

#ralcoreservoir #pehuenche #floodedcemetery #memorial #threshold

In 2004 the cemetery of the Pehuenche community of Alto Biobío (Chile) was unexpectedly flooded, leaving the inhabitants staring to millions of cubic meters of water that separate them from their ancestors. From this tragedy was born the idea of reparation, bounding and communication, in order to create a space for the memory of a sacred place, wich was damaged and rendered impossible to be recovered, that bring the community closer to its dead.

Based on the Pehuenche cosmovision, the project places itself over the water and over the flooded cemetery as a meeting point between the living and the dead, generating a threshold through a simple and pure volume, lacking of any symbolism but loaded in content in its spatiality, giving opportunity to the spirits of the living to rest next their ancestors.

This is how we can attempt to make visible something that wanted to be hidden, to raise a truth again over the water, projecting a work whose complexity is not found in his formal or material characteristics, but rather in its sensibility to approach to a problem that seems impossible to solve; until we realize that the connection to repair, is mainly on a spiritual plane.

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Name                       : Djehovan Dhira

Nationality           : Indonesia

Company               : Ni Dezain

Name                       : Meirifna Anggieta

Nationality           : Indonesia

Company               : Ni Dezain

Title                                            : Black Room

Subtitle                                                      : Space and light bulb to store the ashes

Hashtag                                    : #kinetic #Ultraviolet #Invisibleink #Bulb #Blackspace

Short Description              :

Die

Even though the body is gone

But,

Stories,

Hopes,

And the date of death will be remembered by the loved ones.

This is not for public, but it is private and only the loved ones can know it

BLACK ROOM is a space to remember all life stories and hopes of people who have died.

This room has dimensions of 1.2 x 1.2 m with black walls, ceiling and floor. Right in the middle of the ceiling has 1 UV lamp that functions to save the ashes inside the tubes. The lamp has a time setting with an analogue kinetic system that will only light once a year. The time is set based on the date the person died. On the wall can be written or drawn a life story and the hope of a person who has died using Invisible UV ink, the writing or image will appear only when the UV light is on, that is once every year on the date the person dies.

BLACK ROOM can be placed anywhere in the house and become an integral part of the residence.

The goal is not to live forever, but to be remembered forever.

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Paul Mosley

USA

Up in Smoke: Project for a Burial Pyramid in Xi’an

#upinsmoke

#tombsweepingday

#burialpyramid

#burialgarden

#xibo

The burial complex of the first emperor of the Qin Dynasty displays Xian’s history of largescale and elaborate burial projects. Craftsmen who worked making terracotta drainage pipes made the figures using molds and an assembly-line production system of cast body parts. Following this ingenuity and scale, I propose a burial data complex in the form of a 100m x 100m pyramid. To compress area, vertically oriented caskets line the exterior surface of the pyramid. They form a roof over a data center designed to collect the social media presence of those who pass. Through image rectification, the individual’s digital image passes from the data center to the innermost sanctum using homographic projection. Mourners approach the complex in the greater territory of Xian as a contemporary pyramid among the ancient pyramids throughout the Xianyang river valley – a place known as the cradle of civilization. Intended as both a cemetery and plaza, mourners approach the complex through a garden to carry a flower across the grave surface and into a series of scaled pyramids, the centermost space with a cauldron. Following the custom of burning xi bo, flowers are burned in the cauldron creating billows of smoke that rise through the holographic projection of those who pass.

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Name + Surname (Nationality):

Alberto de Salvatierra (Mexican/American)

Carley Pasqualotto (American)

Company: PROXIIMA

Title:

Project OSSuary

Hashtags: #orbital #spacestation #earth #governmentproject #topsecret

Description (175 words):

os·su·ar·y

/ˈäSHəˌwerē,ˈäs(y)əˌwerē/

noun: a container, room or vessel made to serve as the final resting place of human skeletal remains.

When the first Category 6 Hurricane hit the Eastern U.S. Coast and permanently sunk New York City under the sea, it became clear that life on Earth was no longer tenable. With the effects of anthropogenic climate change visibly and irreversibly permanent, governments around the world met in secret and devised Project OSSuary. Aiming to build—and place—one hundred Orbital Space Stations (OSS) in Low-Earth orbit within 20 years, Project OSSuary would be humankind’s insurance policy against a rapidly deteriorating planet. But, when the global lotteries for the limited space aboard the stations finally went live, governments withheld a dangerous truth: there was no guarantee the stations would succeed in their mission. The Orbital Space Stations could become humankind’s tombs in space—with Earth’s atmosphere a cemetery-in-waiting for failed human ingenuity. With Earth dying—and terraforming Mars an unfeasible feat—these OSSuaries would either be humanity’s last hope or civilization’s most expensive epitaph.

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Andy Pham, Canada, University of Waterloo School of Architecture

Lunar Grave Capsules:

The Moon is the Graveyard

#galactic #relocation #monument #sci-fi #global

The future of accelerated population and urbanization proposes a challenge for the burial of the dead: there will be no more room on the planet of Earth.

The graveyard of an increasingly densifying but technologically advanced human Earth demands for a new relationship to our Moon as a permanently orbiting natural off-site satellite. Most importantly it is Earth’s empty property.

The Lunar Grave Capsules transport grave modules from sites around the world to an astronomical graveyard. An astronautical grave keeper transverses between our Moon and our Earth to insert each grave into the surface of the Moon.

All remains of love ones now reside above us together in a permanent orbit. The Moon rises in the night as a new symbol to humanity – a subtle but shining monument visible from all places of the world that celebrates those who have left us on Earth.

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Luis Pinto Leite, Portugal, Architect
Miguel Duarte, Portugal, Architect

Title: Supercenotaph
Subtitle: An ode to life and death (un)reachable to everyone

Hashtags: cenotaph, moonument, automation, future, everyone
We live in a globalized world. Technology advances at great speed in all areas except death. We continue to bury the dead or cremate them in a traditional manner. After the funeral, people go to the tombs to visit the deceased, to leave a few words and flowers. With globalization, this ritual has become rare in the younger generations and we suggest the creation of a death monument that the entire planet had daily access to.

As death has a strong connection with the cosmos and the night, we propose the design of a monumental cenotaph on the moon. The moon would represent death as a concrete but abstract phenomenon, assuming itself to be real but unreachable celestial body for the ordinary of mortals.

Robotic automation would produce massive cubic blocks of special lunar concrete with locally extracted resources (sulfur, regolith, aggregates)* representing each death on Earth until the extinction of humanity. The blocks will be arranged in a pyramidal cross, a geometric solid reminiscent of primordial and elemental architecture, creating a strong play of shadows and a definitely, human-made, visible image from the Earth.
With this monument, which grows over the centuries, we can create a universal cemetery in the sky that unites humans and reminds us of the daily fatality of death. Reflecting on death may make us think more about life and how to give it meaning. At the end, leaving an archaeological legacy as a record of our civilization.
*this is the only confirmed way to produce concrete on the moon, sulfur as the binding material of aggregates.

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Team Member Information

Surname: NG
Name: Hei Tung Michael

Nationality: Hong Kong

Institution: The University of Hong Kong

Surname: DONG
Name: SI Wah

Nationality: Hong Kong

Institution: The University of Hong Kong

Surname: LAU
Name: Yen Kiu Doris

Nationality: Hong Kong

Institution: The University of Hong Kong

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TEAM:

Israel López Balan

Mexico

Espacio Cero / UAM / UIC-Chicago

Isis Aparicio Hernández

Mexico

UNITEC

GRAVEWHEEL. A trip into your memories.

#sacredpark #lifeafterdeath #newcemeteries #ourlightremains #gravewheel

“You will always exist in the universe in one form or another.”

Shunryu Suzuki

Past and present, light and darkness, nature and culture; life and death are two sides of the same coin.

Capsules of a half-buried Ferris wheel project in the darkness of underground all the memories of deceased people, due to GRAVEWHEEL, an app that collects and classifies photos, music and videos throughout their life. After people die, family and friends go to a park to spread their ashes that symbolize their return to the natural flow of material universe. When the capsules emerge again to the surface, landscape is for its passengers a symbol of rebirth and acceptance of death, but people can also use the wheel to see their own lives projected and corroborate everything they have lived and suffered, this is, the succession of all his little duels and joys that define his memory and consciousness. We are our memories. We die little by little everyday, but our light remains in others…

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David Bullard

United States of America

Syracuse University, 2019

Carolina Hasbun Elias

Dominican Republic

Syracuse University, 2019

Death of A Posthuman

#Ritual #Posthuman #Identity #Anthropocene #FlatOntology

The culture of death in the 21st century has evolved to demand an architecture that acknowledges changes in culture and impact on the natural environment. 21st century humanity presents two realities; the split presence of the digital and physical identity, and advancements in science and biotechnology that facilitate augmented humanity. This merging of human and technology, defined as posthuman, makes it more plausible to memorialize and mourn the human in the absence of the body. We propose a new architecture for the physical disposal and memorialization of dead bodies and their digital counterparts, where the separation of memorial from the corporeal can be achieved. We see architecture as the medium through which this new death ritual is created; becoming the space that narrates, memorializes, and recycles our posthuman bodies. This project recycles and exports organs, e-waste, and compost from the decedent, seeking to memorialize the disposal process of the digital and physical, human and non-human facets of the 21st century identity. In doing so, we level the importance of human and non-human and critique the current processes accorded to human death and come to realize that the environment can no longer afford for humans to treat themselves with greater value.

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Andrea Tomasino (M), Italian

THE MONOLITH

A path to Evolution

#monolith #verticalcemetery #philosophersstone #evolution

The project for the vertical cemetery is born with the intention of creating a strong and decisive symbol within the urban landscape in which it fits, for a new idea of relationship with death and our loved ones where the burial finds a new place of integration rather than reclusion. The idea and form of the Monolith is inspired by Nietzsche’s thought of the philosopher’s stone and its representation in Kubrick’s immaginary with 2001: A Space Odyssey. The tower presents itself as an object of unknown origin and surrounded by mystery, but which will prove to be the necessary tool through which to rise to a new conception of death that moves away from the common dogmas. The path we take to explore it is closely linked to the different phases of this spiritual elevation and evolution: starting from the underground entrance, the idea of death related to ground is slowly upset by the climb around and through the Monolith. In this way we pass through a series of rooms for urns and open spaces in which the relationship with light constantly changes, passing from a condition of total darkness to one of full illumination.