Cyclic matter(s) in architecture

Cyclic Matter(s) in Architecture by

Shepard Halsey Bachelor of Arts (Economics) Georgetown University, 2005

Submitted to the Department of Architecture and the Program in Real Estate Development in Conjunction with The Center for Real Estate

in Partial Fulfillment of the Requirements for the Degrees of Master of Architecture and

Master of Science in Real Estate Development at the

Massachusetts Institute of Technology May 2020

© 2020 Massachusetts Institute of Technology. All rights reserved

The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created.

Signature of Author: ___________________________________________________________________ Department of Architecture, Center for Real Estate

May 19, 2020 Certified by: __________________________________________________________________________

Cristina Parreño Alonso Lecturer Thesis Supervisor Certified by: __________________________________________________________________________ Jennifer Cookke Lecturer Thesis Supervisor Accepted by: __________________________________________________________________________ Leslie K. Norford Professor of Building Technology Chair, Department Committee on Graduate Students Accepted by: __________________________________________________________________________

Dennis Frenchman Director Chair, Center for Real Estate Committee on Graduate Students

Thesis Supervisor

Cristina Parreño Alonso

Lecturer

and reader

Jennifer Cookke, MSRED

In order to meet it [death] in such a way all belief, all hope, all fear about it must come to an end, otherwise you are meeting this extraordinary thing with a

conclusion, an image, with a premeditated anxiety, and therefore you are meeting it with time…To discover that nothing is permanent is of tremendous

Cyclic Matter(s) in Architecture by

Shepard Halsey

Submitted to the Department of Architecture on May 19, 2020

in Partial Fulfillment of the Requirements for the Degree of Master of Architecture

Master of Science in Real Estate Development ABSTRACT

The matter comprising the human body is in a constant state of change, part of a cycle of death and new life, of destruction and reconstitution. From geophysics to cellular biology, processes across scales exhibit cyclic behavior, providing a framework toward understanding both the physical and the

metaphysical potential of death as a process. This project interrogates the rituals and material of death through the frame of the cycle to propose an architecture of the death process that confronts multiple contemporary issues. There is first the problem, magnified by the COVID-19 crisis, of how to dispose of bodies. Second, is a cultural denial of death, leading to an avoidance of death at all costs and a lack of contemplation for the inherent meaning in this transition. Last, is the banality of the spaces in which death occurs or a passing is marked. The goal of the project is to question how as a society, we might discover a new attitude towards death, bodies, and how to commemorate those who have passed. Through a synthesis of ritual, materials, and cycles in life and in nature, the material of this project: the building, the landscape, and the human users become reinforcing participants in the creation of a new cycle of death and life.

Thesis Advisor: Cristina Parreno Title: Lecturer

ACKNOWLEDGEMENTS

I would like to thank:

First I must thank my wife, Erin, for taking the brunt of the hardship in

getting this thesis done, managing two young children while I worked.

You have been amazing and supportive through entire endeavor. My

parents for their support throughout.

Cristina, you were the best advisor I could have hoped for, the best

teacher. My thesis experience has made my time here at MIT, and I

wouldn’t have it played out any other way. I was able to learn so much

TABLE OF CONTENTS

INTRODUCTION...8

BASIS...18

...20

...22

...24

...26

...28

SITE: FORT TILDEN...36

DESIGN PROPOSAL...44

REAL ESTATE PERSPECTIVE...54

BIBLIOGRAPHY...58

INTRODUCTION

Death belongs to the realm of faith. You’re right to believe that you will die. It sustains you. If you didn’t believe it, could you bear the life you have? If we couldn’t totally rely on the certainty that it will end, how could you bear all this?

The human body is an armature of compressive structure, tensile elements, infill, envelope, and a system of pumps, pipes and filters connected to the exterior environment by a series of apertures through which gases and liquids are imbibed and expelled. The material of the body, primarily the six elements oxygen, carbon, nitrogen, calcium and phosphorus are arranged in a molecular combination of water, fats, proteins, bones, and DNA. Upon death, the body ceases motion, function, and its materials begin to decompose. The component elements continue in transit through the geochemical cycle. Decomposition characterizes the material transition at death, though cellular decay and functional breakdown begin long before. The body, as all architectural objects, is mere waste in transit.

STRUCTURE AND CIRCULATION

The material of the body is in constant transit through the geochemical cycle. The material of the earth, as of the body, is in a constant state of change, of transition from state to state. The body, from birth, marks a cyle of growth, increased function, maturity, and decline. It is a process of constant cellular growth and death, of reconstitution and flux. A parallel is the carbon cycle, where solar energy is metabolized by plants with atmospheric nitrogen sequestered in soil and carbon dioxide into consummable food nutrients, then expelled again as waste products become fodder for the growth of plant material anew.

Upon death, the body ceases motion and its materials begin to decompose. Transforming into the same part of the carbon cycle as our shit. Feeding the earth. Enabling new life and growth.

TIBETAN SKY BURIAL

A last act of giving. Bodies broken down and fed to vultures.

Architecture resonates with the cycle of the human body. Their similarities are as a transitory intervals on interrelated geochemical and ecological cycles. Buildings present a point of intersection and collapse of cycles across diverse timescales. From the geologic cycles that produce and reproduce stone and metals to the biological cycles of forest succession and inividual tree lifecycles that produce timber, buildings present a point of human intervention on this physical raw material of the earth. They are human constructs but are of and will return to the earth. We imbue our interventions with a conception of time derived from a life lived on the human scale, perceiving the building, its materiality, and its identity as something of permanence. Buildings too await their transformation under the grinding pressures of time and physical and biological forces of the environment. 

BASIS

The Good Death is one that is managed according to socially prescribed processes. It is constructed through a process of cultural negotiation and according to contemporary mores and values.

BASIS

RITUAL

The rituals and process of death proceed through a succession of stages. Death in three acts. There is first the spectacle of death. Sometimes slow and prolonged. Sometimes sudden and unexpected. Presently, a majority die in hospitals while professionals deploy every measure available to prevent death, disregarding cost and patient quality of life. Such is the forewarned death: the hospital death, the hospice death, the death bed; sites that allow for the enactment of some form of death bed ritual. Sudden death. Mass death. Accidental death. Collective death. The public fascination surrounding these bely the fact that today, we should not die. A death that deviates is a tragedy, seemingly against the natural order. Material dis-animated too soon. These are the deaths consumed via mass media. The motorcyclist ripped in two. 3,400 dead in the North and South towers.

An alternative cultural treatment, a different esteem for death and bodies, can be enlightened through an examination of diverse geographical and historical ritual precedents used to mark death. From historical western examples of the gravity and sensuousness of the death bed scene. The heavy drapery, the physical contact, the dichotomy between dark and cavelike and exposure to sunlight and sensory input mark this conception of how one dies. El Greco’s Burial of the Count of Orgaz reveals the prior era’s prominence of

RITUAL MATRIX

Victorian Death Bed The Count _Procession

Ritual Disinterment Public Cremation Tree Burial

Second, is mourning. Historically, death was a more frequent and public occurrence. Death was part of life, whereas today it is the anomaly. Dead bodies were seen. Mourning displayed; homes draped in black. Deaths in a hospital, arranged and controlled by specialists today have become the norm. Mourning is becoming unworn. Death is dodged. The mourning ritual combines with the preparation of the body for its embarkation on the proximate transition, leading to the last act, commemoration.

What is left behind? A cairn, a gravestone, a ghost bike, a decomposing corpse-cum-bed of flowers. In what way do we believe we can hold something of that person. Or leave it in some location to be revisited. In today’s era of pandemic and climate uncertainty, where the death and disposition infrastructure has been overwhelmed, the imperative to rethink practices is clear. Historical, science fiction, and cross cultural precedents abound for less energetically, environmentally, or spatially ravenous human disposal methods. Combined with the mourning ritual, new infrastructure and spaces are required to accomodate this unavoidable future.

From the technological of Resomation and Promession to the naturalistic human composting or donation to a body farm, each of the precedents demonstrates alternative means with which the body is enabled to continue its next phase of the cycle. Death need not be seen as an

TRANSFORMATION MATRIX

Resomator Body Beads Body Farm

Promession Human Composting Ash Diamond

In synthesizing the organizational framework of death in three acts, and the material cyclicality of the life/death process the analysis of natural moments of the rock or geochemical cycle for their spacemaking and material/atmospheric properties yields a starting point for material experimentation. The cycles across which are created, broken down, recombined and transformed provides the conceptual framework of a building that is equally engaged in the cycle. That is constantly breaking down materials and recomposing them in new form. That the material of the building, as of the earth, is undivorced from its role in this material machine. The project had an early ambition to be extensively material experimentation focused, and the process was begun but aborted by the quarantine. As such, the conceptual underpinning remains but the experimentation in model was abbreviated.

The examples in the matrix reveal the key actors at work. The breakdown through mechanical or chemical processes and the transporation of material. From bits of sand blown by the wind to deposited and layered sediments under immense pressure, to be then eroded away, the constant cyclicality of matter as removed from one object or state only to become the feedstock for the subsequent process.

Wind+Water Crystallization Failure

Melting Water Wind/Pitting

Raku Ware Weathering Composite

The chosen precedents, from the Tower of Silence and the Gibbet of Montfaucon to more contemporary examples of Peter Zumthor and Enric Miralles provide a framework to begin to analyze buildings and ritual/ death precedents from a cyclic framework. The material and spacemaking methods used in the Bruder Klaus Chapel (burned out wooden formwork) and Junya Ishigami’s House and Restaurant in Yamaguchi (excavation and pouring, then excavatiing the void) demonstrate an alternative conception and mode of architecural formulation relative to conventional methods. To employ physical forces, akin to those at work in ‘natural’ spacemaking creates rich sensory environments with materials that tell the story of their construction. Much as death is concealed, the means and methods of how buildings come together are frequently and regrettably hidden behind finished surfaces.

The end of life process becomes a shedding of everyday concerns, a destruction of the self, there grows a newfound or renewed delight in the senses. Texture, smells, the effects of light and shadow become of central comfort and import through the end of life process. Igualada provides cues for strategy for connecting architecture to landscape, of architecture that both confronts the landscape, but also functions within its parameters,

Bruder Klaus Chapel Ishigami

Gibbet of Montfaucon

Tower of Silence Igualada Site Plan Paris Catacombs

PRECEDENT MATRIX

Tower of Silence Interio Tower of Silence Plan

BASIS

CYCLE

The general cycle of decomposition begins at the termination of life. However, bodily death does not mark an end. Upon death a range of remarkable transformations occur. The body becomes its own ecosystem. Cells no longer receive oxygen via respiration and circulation, and as ph levels fall, cell walls break down. The release of enzymes causes a chain reaction that further, through the autolytic process, effects the breakdown of organs and tissues. The eventual structural failure of organs release endogenous gut bacteria. These bacteria and other biological decomposers explode in population, further consuming and digesting the materials of the body. Transforming the constituent parts back into the raw organic material from which they arose. Insects and animals feed and colonize the site. Despite a typical revulsion and conditioning to the dead and decomposing, the rotting, it is a site of abundant life and activity that incites ecological and landscape change. Phases with names like bloating, marbling, and slippage predispose this revulsion. Altenatively, one may consider the dead through their creation of a nutrient rich and life giving ecosystem. Death as the last act of giving.

The generalized decomposition cycle diagramming process, tracing inputs and outputs, gases and liquids, and the material changes that occur

Death

+CO2

Putrefaction

Autolysis

The Cadaver Ecosystem

-O2

inputs

Termination of Respiration + Circulation

-ph levels

Breaks down cell membranes and releases enzymes Enzymatic destruction of biomolecules Leakage of Cellular contents

Out:Heat

In: invasive bacteria

Odor (imperceptible to humans, attract flies)

Endogenous Bacteria GI T ract CO2, CH4, H, H2S Entomological decomposition Animal Predation Exogenous Processes

Autolytic Process results in: -low ph -anaerobic -nutrient rich Ecosystem

Microbial Colonization

Loss of Structural Integrity

Fluid Release

Skeletonization

The Fertile Milieu

CYCLE

TREE BURIAL

The Torajan people of South Sulawesi practice a form of burial ritual that interweaves the continued life of the deceased with the ongoing life of the forest. As an individual nears death or falls ill, they venture into the forest and select a tree. Friends and relatives work to hollow out a vertical tomb within the volume of the tree trunk. Upon death, the remains

TORAJAN TREE BURIAL

15 YEARS

The Zoroastrian Tower of Silence effectuates the transformation of its human material on a far faster timescale. Employing agents of decomposition of natural environmental factors of heat and humidity, the tower primarily relies on carrion-feeding birds. The remains enter the tower and are laid in between fluid collecting channels, as they are broken down fluids are

CYCLE

TOWER OF SILENCE

TOWER OF SILENCE

1 YEAR

At the shorter end of the spectrum is the process of alkaline hydrolysis, performed by the machine, the ‘Resomator.’ It effectively melts the remains in a process that speeds up the natural decomposition sequence, though it precludes the act of biological agents. The body is loaded into the chamber, which is then filled with a solution of water and an alkali. The solution and body are then heated, with the solution being recirculated throughout. The chemical decomposition reduces the ph level of the solution, and upon cooling the resulting mix of water and amino acids can be provide a natural

CYCLE

RESOMATION

RESOMATION: ALKALINE HYDROLYSIS

3 HOURS

SITE

I am the shore and the ocean, awaiting myself on both sides. -Dejan Stojanovic

SITE

FORT TILDEN

Fort Tilden is a 98 acre site situated in Queens close to major population centers of Brooklyn and Manhattan. It is an underutilized site operated by the National Park Service. With the city-operated Jacob Riis Park adjacent, most beachgoers forego Fort Tilden in favor of the parking and amenities present next door. Fort Tilden remains a relatively pristine nature area bounded by ocean, bay, and a dense urban condition. Additionally, Floyd Bennett Field across the bridge provides an additional 1000 acres of similarly underutilized land area that provide potential complementary

Breezy Point

Rockaway Park Floyd Bennet Field

Coney Island

SITE

FORT TILDEN

Fort Tilden previously housed a military base. It was a site of coastal gun placements, Nike missile silos, and WWI and WWII domestic defenses. As a Cold War Nike missile

Nike Missile Site

Battery Kessler Battery Harris

COASTAL AND AIR DEFENSES

Roxbury

SITE

FORT TILDEN

DESIGN PROPOSAL

N

N

N

N

N

THRESHOLD AREA PLAN

N

N

THRESHOLD ROOM DETAIL

“He looked forward to the time each day when the sun came into his room. The sun traveled on a path beginning at the foot of his bed, gradually reaching his chest, warming him from toe to chest each afternoon. It is these connections to natural phenomena … that become significant to us, such as the patterns of shadows made by clouds as they move across the interior of a room, reflections of the sun over rippling water … [these] link us to the world beyond our room.”

N

N

CHAPEL AND TRANSFORMATION GALLERY

Section A 1:200

The Chapels and Transformation Gallery constitute the next element of the project cycle. Upon death bodies move to their chosen method of transformation. A menu of options provides solutions for varied tastes, all with a goal of feeding the building and landscape through the continuation of their cycle. Resomation machines interchange heat with building conditioning systems. While the green roof collects and filters rainwater to use in the process. Chapels are enclosed in a warm and familiar red brick, while the glazed front wall looks out onto an ivy wall forming the rear of the adjacent chapel. Visitors to the site have the opportunity to view the transformation process.

N

N

BODY FARM

Section B 1:200

The Body Farm is the last phase of the cycle. Bodies are prepared for decomposition or cremation in a sunken gallery that can be viewed from outside or from the interior circulation. Commemoration ceremonies are held in the bays between the natural decomposition walls, with an option for open air sky burial in the contiguous exteior extensions. Organic decomposition material flows out through channels to feed the Grove, a commemorative landscape given life through death.

PERSPECTIVE

Death infrastructure and the associated businesses and real estate products are an area in dire need of innovation and expanded scale. The COVID crisis and coming demographic transitions in the US and globally present challenges on several economic and spatial fronts. The question of end of life treatment and how we expend scarce resources will face an unpleasant cost benefit reckoning in the coming decades. An aging population facing their later years will coincide with a potential fiscal crisis as government debt explodes ever higher, magnified by the extraordinary measures taken to combat the coronavirus. As a result, the future potential for a sovereign debt crisis combined with pension and entitlement shortfalls presages the potential for an age of austerity. Nearly one third of Medicare dollars are spent in the last year of a patient’s life. Quality of life realitites will intersect with this fiscal reckoning to force a reconsideration of how we view medical care for the terminally ill and the advanced in age.

Hospice care is a relatively recent growth industry within the medical field. It did not exist in its current form until the 1960s. Since then it has become medically and socially accepted, however there is much work to be done in terms of improving the patient and family experience of how we die in today’s world. Much of hospice care is administered at home, however inpatient hospice settings are required for patients in need of greater care. There are very few hospice beds relative to hospital beds in the US, a ratio that is set to narrow in the coming decades as a transition to greater acceptance of palliative care is achieved.

In addition to the opportunity related to hospice care and its real estate considerations, the funeral home and cemetery products are also in need of better design and better adaptation to current realities. In urban settings

cemeteries are quickly running out of space and have little or no capability to expand under constraints of valuable local real estate and unfavorable zoning. Funeral homes face changes in terms of public tastes and technologies. With the growing expense surrounding burial and its accompanying physical trappings of casket, embalming services, and the resources thereby consumed, alternative modes and methods are becoming a necessity in the marketplace. Through design and the potential incorporation of technological innovation, these industries and their accompanying physical manifestations have the potential to have extraordinary positive social, cultural, and economic effects. In addition to the macro and social argument, there exists a fundamental profit motive driving the project. Death services are a strong countercyclical business in an age of uncertainty (what are the two constants in life?), so the proposal attempts to integrate societal need with business realities.

The proposal synthesizes functions of a hospice care center, a funeral home, and a cemetery within a site designed to be not merely publicly accessible but to provide amenities that enhance the natural environment of the site. Combining three growth industry functions in an innovative new product, incorporating both new methods and synthesizing alternative methods across cultures, the project seeks to provide new possibilities to a stale and staid industry and real estate product. It is a hospice that incorporates a public park,

Within this new product, funeral services are set not in a mock up of a stodgy living room with outdated furniture and finishes, but in a dedicated space, the Gallery, that doesn’t deny the realities of the dying process. That our bodies can and will be transformed, in this project, in a myriad of possible ways from the relatively traditional to the somewhat radical, serves as the motivating force for a reimagining of the product type. The project further addresses issues surrounding cemeteries, eliminating the space consumption of individual burial plots for methods that feed the landscape. The landscape, its trees, grasses and flowers become living monuments to those who have passed. The resulting increase in plant life and the introduction of trees with relatively deeper root systems will further serve a resiliency function on this barrier island, serving a climate resiliency and coastline stabilization function as well as a commemorative one.

By combining these three related programs in a single real estate product, a one stop shop for death services in an underutilized urban setting, the project seeks to create both social value and business value. The hospice, funeral, and cemetery industries are each real estate focused in their operation. They are places above all else, presenting an opportunity for re-imagination and the incorporation of program specific design. The project addresses the growing trends and crises in medicine and end of life care that are interwoven with issues of how society will handle the material of death in a changing future. It seeks to create a public amenity through a program that is generally kept out of site and out of mind but is a reality we all must face. A reality made stark in confrontation with our own mortality and effects of the current health crisis.

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Fig. 36

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Fig. 37

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