humanistic society, more and more people are thinking about their deaths and future of their gone bodies. The relatives are no longer responsible for it. Design options such as: How do I want to be buried? Do I want to accept death? Do I want to accept death as finitude? Opportunities for life after death? How should my corpus look like? Shouldn’t I don’t care about, because I’m gone anyway? How can the corpus still play a role in society? Are gaining importance.
It’s a historical and cultural phenomenon that we distinguish between spaces of death and spaces of
humans being alive. We all have to face in the end this transformation to property, which has to disappear. Still, one have to differentiate between property of a rich class family or one where
this property becomes damage to the subsistence of the family. In my project of a communal house, I tried to fuse those realities in Manilas society.
The notion of publicness is proposed through an interaction between life and death. A coexistence between bodies and humans. This publicness is understood as a common good (experience) in new spatial configurations. The building is the machine(mechanism) for these notions in an organizational, constructive and archival way.
Spatially it’s about shell, growth, unification and layers. Through a structural infrastructure, a kind of nest effect for the slum community will be provided. So the Community growths with the structure and the height of the monument. The grave acts as a memorial trigger, as a sculpture of unity and memory, where no social class and levelling is allowed. With a formal gesture (disgust), a formal language and spatial quality, I tried to make a social statement. In contrast to the proximity of church and capitalism, this attempt should question the position of power.
A grave within domestic figuration represents the ineffable – that is, death and absence
– as part of dealing with the complex interminglings of private and public aspects of
wall is made by a special material that is a mixture of ash of the
dead and high-performance adhesive. As time pass by, the wall will
have different shades of layers, like tree rings. It becomes a kind
of monument or a document, that dutifully recorder of changes in life
by the type of societies dead.
We describe it as a transition, we find it in all known cultures, ritual complexes that regulate the transition between different social groups and these rites are shaped according to the matrix of spatial transition. Rites of affliction or Rites to restore and maintain order.
(Notion of the sea, saltwater → purifying power)
In the context of the memory of the dead, we finally find the process of "heroization" and "deification" of ancestors, sometimes associated with the establishment of cult sites, which may also be destinations of pilgrimages or annually recurring festivals (2th November) such as calendar rites. It shows that the phenomenon of death is not only at the level of doctrines and "beliefs", such as the concepts of the otherworldly world, the judgment that the deceased must undergo, etc., but also the ritual dimension of religions of humanity is of fundamental importance.