After researching the development of the cemetery and the existing crematorium (introduced in 1982), I came to the conclusion that a meaningful ritual of Crematorium was necessary that related both to architecture and landscape. James Steven Curl, in his definitive essay on funerary rites, pinpoints the tack of direction, the philosophical confusion and the woolly thinking, which typifies much of crematorium architecture. I developed the brief by exploring the essences of arrival, procession, waiting, a sensual ceremony, the social event that follows, the cremation process, returning and departure. 

"The architect can work with the empty space-the cavity - between the solids and consider the forming of that space the real meaning of architecture" Steer Eller Rasmussen.

The initial models explored the theme of light and transparency, by material and perception. Through this process, I deduced, I had to link path and building intrinsically. The models tested both the positive and negative spaces, the relationships between the buildings, considering the effects of space, distance and time with each move. 

The executed idea inhabits and binds with the history and layers of the site, the first entrance is through the existing cemetery gates. A processional path leads from here directly through the cemetery to the boundary wall where the path divides into three parts of different hierarchy. The main axis rises up to a platform where you have a view of both the garden and cemetery, you then pass through a tomb like exterior, to a light and de-materialised interior, the floors slopes down to a window which frames a view of the oak tree grove beyond the wall, in front of the window there is a pool reflecting the sky. Light is scooped from above, painting light onto a canvas below. The walls allow chinks of light through and at night return the light onto the outer glass skin, creating a beacon at the end of the processional way.

 

The minor pain passes through the boundary war, following a sequence of interlocking gardens, the hearse stops; the body is carried from here through nature to a more primitive, intimate chapel. After both services you pass through the botanic boundary wall, one on a higher level the other on a lower into a 'tea house'. This building rests you it the landscape among the oak trees to allow time slow down and contain people for the important social gathering. After the event, the relatives return to the garden to collect the ashes. They pass through an opening beyond the main chapel. This administration section is part of the backstage of the crematorium, taking the form of the existing wall. All buildings are related to each other and are connected by a circular path running through, describing a diagram for the continuum of life.