Sam Coulton的设计把伦敦染成了蓝色的环保公墓
Sam Coulton designs environmentally friendly cemetery that would slowly dye London blue

由专筑网王帅，邢子编译

巴特利特建筑学院学生Sam Coulton设计了一种可持续的火葬替代方案，旨在帮助伦敦人面对死亡。

该方案名为“伦敦物理花园：一个新的伦敦墓地”（London Physic Gardens: A New London Necropolis），由Coulton在巴特利特学校的MAarch课程上提出，它的内容是建造一个新的死亡之城，而建造位置正是切尔西（Chelsea）曾经的娱乐花园。

在这里，这座城市的逝者被裹上蓝色的布，然后被用于栽培RHS切尔西花展（RHS Chelsea Flower Show）的植物，并随着染料逐渐浸入水循环中，而后这座城市渐渐地被染成淡蓝色。

Bartlett School of Architecture student Sam Coulton has designed a concept for a sustainable alternative to cremation to help Londoners confront death.
Called London Physic Gardens: A New London Necropolis, Coulton's proposal, which he created on his MAarch course at the Bartlett, involves building a new city of the dead where Chelsea's pleasure gardens once stood.
Here, the city's corpses wrapped in blue-printed shrouds would be used to grow plants for the RHS Chelsea Flower Show, with the dye leaching into the water cycle to slowly stain the city a cerulean colour.


公墓将坐在切尔西，这里过去曾是一座娱乐花园／The necropolis would sit in Chelsea, where the old pleasure gardens used to be

该项目是对巴特利特学校主题为“在城市中建造的城市”（A City in a Build in a City）中第12单元课程的回应，在该单元，学生被邀请设计“亲密的巨型建筑”。

对此，这位建筑学硕士开始讲述伦敦生者与逝者之间的关系。

他的项目侧重于城市目前面临的“伦敦人对过去或未来漠不关心的冲动决策，从而导致了极端的气候不确定性、人口增长和政治的不稳定性。”

Coulton对Dezeen的记者说：“整个英国对死亡和公共空间的态度都还处在维多利亚时代。”

“【我希望】从环境和社会上，这种新的抽象公墓可以使当下的伦敦人感到震惊。”

The project is a response to Unit 12 at the Bartlett's theme of A City in a Building in a City, where students were invited to devise "intimate megastructures".
In responding to the prompt, the architecture masters student was compelled to address the relationship between London's living and it's dead.
His project focuses on the issues of "extreme climate uncertainty, population growth and political instability due to impulsive decision making with little regard for the past or future Londoner" the city currently faces.
"Britain as a whole is particularly Victorian in its attitude to death and to public space," Coulton told Dezeen.
"[I hope] that the introduction of this new kind of abstract necropolis would shock the living Londoner into engaging environmentally and socially."


将逝者转化为营养丰富的液体／Resomation turns dead bodies into nutrient-rich liquid

伦敦的埋葬空间及其有限，每天都会有200个伦敦人选择火葬，伴随而来的大气污染问题日益受到关注。

Coulton认为，死亡在英国的许多文化中仍然是禁忌，为了在不污染空气的情况下处置逝者，伦敦人必须减少对死亡的厌恶情绪。

水葬（Resomation）是一种环保的替代方法，它依靠碱性水解，利用水、碱液、压力和热量将身体分解成化学成分。其产生的液体含有氨基酸、糖和盐，可用于栽培植物。

Coulton解释说：“与水葬相比，火葬消耗了更大的能量。”

“1960年，大约30%的已故英国人被火化，现在这个数值已经超过70%。人们的态度在不断变化，如果火葬比土葬好，那么为什么水葬不可以取代两者呢？”

Burial space in London is incredibly limited and with 200 Londoners a day opting to be cremated atmospheric pollution is a growing concern.
Coulton believes death is still taboo in many cultures including the UK and that London will have to become less death-averse in order to dispose of its dead without polluting its air.
Resomation is an environmentally friendly alternative where the process of alkaline hydrolysis is harnessed to break a body down into its chemical components using water, lye, pressure and heat. The resulting liquid contains amino acids, sugars and salts and can be used to nurture plants.
"Cremation uses enormous amounts of energy in comparison to resomation," Coulton explained.
"In 1960 about 30 per cent of deceased Britons were cremated, now it is over 70 per cent. Attitudes continue to change and if flames are better than worms, why is water not preferable to either?"


逝者将被用来培养植物，建造一个异国情调的花园／The remains would be used to water plants for an exotic garden

到达伦敦物理花园（London Physic Gardens）的逝者将被用蓝色的布包裹起来，这些布上面呈斜纹的墓地图案会采用氰基型工艺印刷。

在水葬室内，普鲁士蓝色素会渗入水中，然后被用来浇灌花园。

这种蓝色的水也会从土壤中渗入到泰晤士河，使河水变蓝。同时也将进入水循环系统，随着雨水落在这座城市里，最终把建筑也染成蓝色。

这种渐进式的色彩将不断提醒人们死亡和气候对于城市的影响。

Bodies arriving at the London Physic Gardens would be wrapped in a blue shroud printed using the cyanotype process with patterns of the necropolis structures, rendered obliquely.
Inside the resomation chamber, the Prussian blue pigment would leach into the water, which is then used to water the gardens.
This blue water would also leach from the soil into the Thames, dying the river blue. It would also enter the water cycle, raining down on the city and eventually staining its buildings blue, too.
The gradual colouring would serve as a constant reminder of death and the impact of climate on the city.


蓝色图案印刷的布将用于包裹逝者／Shrouds cyanotype printed with blue patterns would be used to wrap the bodies

普鲁士蓝是一种环保的中性染料，它甚至可以用来治疗辐射伤害。虽然它的副作用可以把你的便便染成蓝色，但它可以用于治疗铊中毒或放射性铯中毒。

花园里将种满异国情调的物种，随着植物数量增加，它可以为园艺节提供植物，并为哀悼者提供一个参观的地方。

Coulton说：“这里可以成为对生命庆祝的地方，而不仅仅是哀悼。”

“物理花园的引入要求游览者、观众或读者以不同的方式接触这个空间，它让人更容易接近，也会改变我们对死亡、气候和时间的看法。

Prussian blue is an environmentally neutral dye, and can even be prescribed as a treatment to the exposure of radiation. It's used to treat thallium poisoning or radioactive cesium poisoning, although side effects include turning your poo blue.
The gardens would be filled with exotic species that would multiply along with the number of bio-creations, providing specimens for the horticultural festival and a place for mourners to visit.
"It acts as a celebration of life, rather than purely a place for mourning," said Coulton.
"The introduction of a physic garden requires the visitor, viewer or reader to engage differently with the space, in an attempt to make it more accessible and alter our perceptions of death, climate and time."


蓝色的水浸入泰晤士河并将其染成蓝色／Blue water leaching into the Thames would stain it blue

一部分来自哲学，一部分来自建筑抗议。Coulton在探索朋克电影制作人，园丁和同性恋权利活动家Derek Jarman和艺术家Yves Klein的作品后，想出了这个关于死亡的蓝色沉思想法。

Coulton说：“我对Jarman所有作品的时间和色彩的关系都非常着迷，特别是他在邓杰内斯（Dungeness，英格兰肯特郡南部）的小屋。”

Jarman设计了他的Kentish住宅周围的瓦形花园，在那里灌木丛的植物种植在垃圾和漂浮木制成的雕塑中，在滨海蓝天下生长。

Part philosophy, part architectural protest, Coulton came up with the idea for a blue musing on death after exploring the works of punk filmmaker, gardener and gay rights activist Derek Jarman, and the artist Yves Klein.
"I became fascinated by the relationship all of Jarman's work has to time and colour; specifically his cottage in Dungeness," said Coulton.
Jarman designed the shingle garden around his Kentish home, where scrubby plants grow amongst sculptures made from rubbish and driftwood against a seaside-blue sky.


最终，所有的建筑都会变成蓝色／Eventually all the architecture would turn blue too

他补充说：“他还在1993年因艾滋病而失明时执导了电影《蓝》，对我来说，这部电影强调了蓝色试图以某种方式巩固或纪念非物质之间的关系。

“他的灵感来自于Yves Klein描绘“虚无”所用的极端蓝色天空渲染，在Klein的描述中，这是一种永恒的颜色，它超越了人类的生命和时间本身。”

如果建筑师和设计师准备与恐怖接触，那死亡和丧葬仪式一定会为之提供“一片沃土”。

在麻省理工学院，Neri Oxman设计了一套3D打印的装满产生色素的微生物死亡面具，这些微生物起到了生物瓮的作用。而荷兰Nienke Hoogvliet工作室设计了一种由废水生物塑料制成的可生物降解的骨灰罐。

"He also directed the film 'Blue' as he was losing his sight to AIDS in 1993, which for me, highlighted this relationship between the colour blue and attempting to somehow solidify or memorialise the immaterial," he added.
"He was inspired himself by Yves Klein's extreme blue renderings of the sky as a means to depict 'the void', and in the way Klein described this as something eternal, transcending human life and time itself."
Death and funerary rites provide architects and designers with fertile ground if they are prepared to engage with the macabre.
At MIT Neri Oxman devised a collection of 3D-printed death masks filled with pigment-producing microorganisms that function as biological urns. In the Netherlands Studio Nienke Hoogvliet have created a biodegradable urn for cremains made from wastewater bioplastics.