Death and The Afterlife

Research Question: Life After Death: An Analysis of the Afterlife Through the Victoriana and the Symbolic Memento Mori. A conceptual construct of what lies beyond the grave will be conceived utilising the human body along with decorative and tangible artefacts found within the graveyard.

Table of Contents Introduction ………………………………………………………………………………………………………………………………………………………………. 4 Mind Map ………………………………………………………………………………………………………………………………………………………………… 5 Chapter I: Traditional and Contemporary Afterlives ………………………………………………………………………………………………………………….… 7 Part i: Traditional Religious Afterlife ……………………………………………………………………………………………………………………………………. 7 Part ii: Contemporary Realisations of the Afterlife ……………………………………………………………………………………………………………………… 19 Chapter II: Victorian Glasgow, Funeral Practices, and the Memento Mori ……………………………………………………………………………………………… 26 Part i: Victorian Glasgow and Funeral Practices ………………………………………………………………………………………………………………………… 26 Part ii: Memento Mori and Death ………………………………………………………………………………………………………………………………………… 32 Chapter III: Bone as a Material .………………………………………………………………………………………………………………………………………….. 41 Chapter IV: The Victorian Cemetery and Site Analysis of the Glasgow Necropolis ……………………………………………………………………………………. 51 Chapter V: The Entrance to the Afterlife ………………………………………………………………………………………………………………………………… 68 Chapter VI: The Creation of the Afterlife ……………………………………………………………………………………………………………………………….. 76 Part i: Atmosphere ………………………………………………………………………………………………………………………………………………………... 77 Part ii: Materials ………………………………………………………………………………………………………………………………………………………….. 82 Part iii: The Burial Vault …………………………………………………………………………………………………………………………………………………. 84 Part vi: The Removal of the Skin ……………………………………………………………………………………………………………………………………….... 91

12

Part v: The Skeleton (Bone Marrow) ……………………………………………………………………………………………………………………………………. 96 Part vi: The Final Resting Place …………………………………………………………………………………………………………………………………………..103

Chapter VII: The Journey ……………………………………………………………………………………………………………………………………………….. 110 Conclusion ………………………………………………………………………………………………………………………………………………………………. 114 Bibliography ……………………………………………………………………………………………………………………………………………………………. 115

13

Introduction

religious cultures that implemented death and

the Glasgow Necropolis in its current state and

the afterlife into their way of life. Chapter two

why I chose it. This chapter will discuss the

Death has always been a diverse and fascinating

then moves on to discuss the Victorian era, their

decisions I made after I conducted my site

subject, but in today’s modern society it is a sensitive

funeral practices, and the memento mori

analysis and re-examined my findings. By

topic which is not openly spoken about and has

focusing on the background research, artefact

collating this information together with the

collections, exhibitions and interiors that

research, I had conducted to this point this

discuss death through a variety of practices.

chapter details the outcomes of this research

Their

and design process.

always been related to negative and cruel connotations. Peoples fear of death emanates from the fear of the unknown and that which is out with personal control, yet our ancestors dealt with death in an open and unfearful manner. They manifested

practices

were

considered

to

be

particularly morbid and had evidenced their

out of body experiences and created stories of

obsession with death and preservation of the

Finally, within the remaining chapters I will be

continuous life outside the mortal realm where the

body through elaborate funerals and the

considering all the research I have undertaken

soul could live eternally, but no one can fully

decorative artform of the memento mori.

so far to develop a series of sketches, collages,

comprehend what happens to us after we die. This

models, and visuals that inform my overall

journal includes the research, methodology and

Chapter three will then analyse the structure of

design proposal. Whilst I documented my

design concept of a conceptual afterlife utilising

bone and its use throughout history to construct

findings, I will also evaluate the importance of

objects and interiors. This chapter will also

each element and will document significant

discuss the sculptural works of Frederick

breakthroughs found throughout the design of

Ruysch and how his skeletal structures have

the afterlife and how these can communicate to

informed the stylistic approach of my visuals.

the viewer the overall atmosphere and visual

Chapter four explores the historical context of

stylisation I am trying to achieve.

Victorian funeral practices, the memento mori and the human body. I have also dedicated a site within the Glasgow Necropolis which will hold the entrance to the afterlife.

I experimented with

different design layouts using sketches, collages, and models throughout the design processes.

the Victorian cemetery, its origins, and its Chapter one details the research methodology I

importance from the 19th century utilising Sarah

had undertaken to construct a background

Rutherford’s book The Victorian Cemetery.

knowledge of a variety of historical and

This chapter also documents my site analysis of

14

Christianity

William Blake,The Should Hovering over the Body

Dr Strange, Astral Dimension

Harry Potter and the Deathly Hallows part 2, Limbo

Flatliners, Afterlife

Thomas Annan

Roman/Greek

Film

Contemporary

Egyptian

The Afterlife Religious

Victorian Life Glasgow Necropolis, 1831

Victorian Mourning Attire

Glasgow Necropolis

Victorian Funerary Practices

Death and the Afterlife

Bone

Death Photography 1894

Memento Mori Victorian Georgian Funeral, 1750's

Britains Biggest Dig

Death

Death Photography Victorian Hair Locket

Cabaret Du Nean, Paris

Bone as Material

Contemporary

Chapel of Bone, Portugal Ken Currie, Plaster the Death Frederick Ruysch

Death Exhibitions

15 Paris Catacombs Marc Quinn, Self

Damien Hirst, For the Love of God

To achieve the final design concept and visualisations of the afterlife I first created a structured mind map of the initial topics that I felt were appropriate in the development of my research. This mind map details this initial research which includes references to art, text, film and documentaries that discuss the subject of death and the Victoriana from a variety of practices. This mind map became an integral aspect of my project that I could easily refer back

to

at

any

point

throughout

the

development of my research and design process.

16

Chapter I Part i: Traditional Religious Afterlives

17

Introduction

This chapter establishes the historical and religious idea of the afterlife, focusing upon three prominent religious backgrounds that include Egyptian, Roman/Greek, and Christian. I will analyse these three religions by watching documentaries and reading texts that provide insight into the ritualistic practices that took place during these times. The preservation of the body and the insertion of objects into the deceased’s coffin was a common practice within these cultures. I will also be analysing the art that was created to illustrate these practices.

Each of these religions provide illustrative images that detail the mourning of the dead through ritualistic approaches, art, texts, as well as objects that are placed within the coffin to aid the deceased on their next journey to the afterlife.

18

Religious Afterlives

19

The Egyptian Afterlife

The field of reeds is a mirrored paradisal

The journey to the Egyptian afterlife began after the

inscribe within tomb walls using symbols and

soul has left the body and is transported to the Hall

hieroglyphics to detail the activities they wished to

of Judgement before Osiris, the god of death and

continue with after death. Bodies were mummified

resurrection where they must pass a series of tests. It

to preserve the physical body as they believed that it

is then decided whether the soul can transcend to the

would be necessary in the next life. Objects of value

Field of Reeds, a paradisal afterlife or be lost forever.

such as amulets, jewellery and statuettes were also

representation of the living world. Egyptians would

placed within these tombs so that the soul was able The first test is to stand in front of 42 judges and

to safely travel to the next life. It was believed that

swear that they had not committed a series of chosen

statuettes could come to life to live and serve the soul

sins, for example, I swear I did not lie, I did not steal,

after death. 1

I did not kill. After this came ‘the weighing of the heart’, where the soul’s heart must be weighed against the feather of truth and justice. If the heart is heavier than the feather it would be eaten by a crocodile headed demon and the soul would be lost for eternity. I the heart and feather were in balance; the soul was declared ‘true of voice’ and their final journey to the field of reeds would begin where their soul is reborn into the afterlife.

1

Secrets of the Saqqara Tomb, dir. James Tovel, 2020, Land Productions (Netflix)

110

The Secrets of the Saqqara Tomb, The Secrets of the Saqqara Tomb is a documentary

and wealth which can then be taken with them to the

found to be particularly interesting was blurring of

about the excavations of the Bubasteion Necropolis

afterlife. Hieroglyphics decorated the walls and

the boundaries between the realm of the living and

in Saqqara, Egypt. Throughout the excavation they

portrayed the activities which people wanted to

the dead. It has also helped me to uncover the design

find a number of artefacts and tombs that date back

enjoy for eternity within the next life. The tomb was

techniques used to represent the dead interior and

more than 4,500 years. One of the largest

a safe environment that guaranteed the soul safe

will aid me in the design of my entrance space before

archaeological finds was the discovery of Wahtye’s

travel to the next life and fake doors were placed

crossing the threshold to the afterlife.2

tomb, a priest who had lived from 2451 – 2405 BC.

within the tomb so that the soul may return to the

It was elaborate tomb where they discovered a

tomb, blurring the boundaries between the living and

variety of statues, hieroglyphics, objects, and shafts

the dead.

which led to other parts of the tomb.

This

documentary

provided

me

with

an

During this time, ancient Egyptians created highly

understanding of the interior of a tomb and how they

decorative tombs which showcased their strength

informed a person’s journey to the next life. What I

2

Secrets of the Saqqara Tomb, dir. James Tovel, 2020, Land Productions (Netflix)

111

112

Roman/Greek Mythology – Journey to the Afterlife

dead. In Roman/ Greek funerary practices a coin

In Roman/ Greek mythology the underworld is

the deceased to enable the soul to pay Charon to

where the soul goes after death. It is said that after

travel over the river Styx safely.

known as Charon’s obol was placed in the mouth of

the person has died their soul is immediately separated from their corpse, taking on the shape of the former person and begins their journey to underworld. They are given a coin which is used to pay Charon, the ferryman of Hades to take the newly deceased safely across the river Styx which divides the world of the living from the world of the dead.

Once the soul has reached the entrance to the underworld where the souls of the good and bad are separated. The underworld is said to be located at the outer boundary of the ocean or beneath the depths or ends of the earth. The underworld is a realm which is invisible to the living and is made only for the

113

Christian Afterlife Christians believe that the soul is separated from the physical body where it is believed that they are transported to the presence of God where they are judged for the deeds they have or have not done during their entire lifetime. If they have not committed sin the soul is permitted to enter heaven where they will live for eternity in peace but if they have committed sin they are forced to hell where they are subjected to punishment and suffering from daemons.

The Divine Comedy by Dante Caligari is a book written in 1320 which describes the journey of a soul through the afterlife dividing it into 3 stages; Inferno (Hell),

Purgatorial

(Heaven).

(Purgatory)

and

Paradiso

3

3

Unknown, URL: https://www.bbc.co.uk/bitesize/guides/zn6ncdm/rev ision/3 (06/06/2021)

114

Britain’s Biggest Dig Britain’s biggest dig is documentary series documenting the archaeological dig that took place in a Victorian graveyard located in St James Garden, London

from

October

2017

–

2019.

The

archaeologists discovered over an estimated 60,000 burials ranging from wealthy chambers to stacked coffins of the poor. They had uncovered a number of stories about the persons past life through the discovery of objects such as toys, slippers, scissors and coffin plates. Some of the coffin plates excavated from the site were detailed with symbols related to memento mori which was a popular symbolic art form vastly used throughout the medieval and Victorian period.4

4

Britain’s Biggest Dig. Dir. Tom McCarthy. Lion

Television, 2020 (BBC Two)

115

Objects

made a safe journey to the next life. The canopic jar

religious beliefs to aid the soul on the journey to

would have been used to weigh the deceased heart to

heaven to live in eternal peace along with other

Each of these objects come from different religious

determine if they were pure enough to reach the field

deceased family members. Each of these objects take

backgrounds and each are from a different historical

of reeds. The coin was placed in the mouth of the

the soul on a journey to a different realm which the

time period, they also have similarities. Each of

deceased to pay the ferryman, Charon and safely sail

living cannot reach and each objects aids the soul on

these objects were placed within the coffin of the

across the river Styx to the afterlife. Finally, the

a different religious path.

deceased to assist them and ensured that the soul

cross would have been placed due to the deceased

116

The Skeleton

up through this very day. And considering how our

After considering objects as a way to determine the

of us, we’ll leave the story considering how bones

path taken by the soul to the next life, I soon

are the legacies we leave behind. They are the only

discovered that this may cause a hierarchy or

parts of us that have a chance of telling others about

separation between the wealthy and the poor. Not all

our lives millions of years after all our earthly works

coffins will have objects placed within them,

have turned to dust, when we’re prehistoric creatures

therefore, I decided to reconsider the skeleton as an

ourselves, as dead as the dinosaurs.’ 5

bones have the potential to be the most lasting parts

object that would inform the overall design proposal of the afterlife due to its structure and significance throughout history. The skeleton is the only remaining object left by everyone who passes on that does not have a segregation of class. Skeletons have been an important symbolic object of the memento mori and to this day serve as significant objects within science and religion.

‘But human skeletons have historically and incredibly active afterlives. Human bones have been objects of worship, conquest, and curiosity for longer than we’ll ever really know. They’ve been used to both honour and denigrate the dead, from the origins of religion through the genesis of science and

5

Switek, Brian, Skeleton Keys: ‘The Secret Life of Bone’, pg. 11-12

117

Conclusion

stairs before the judgement of God. Each soul still

the soul has journeyed to the next stage of the

requires their physical body to reach the entrance to

afterlife.

After researching and documenting my findings I

the afterlife. Their physical body is then left on earth

have found several similarities between each

so that the soul may finally enter the afterlife.

Following on from this chapter I will now further my research on the contemporary realisations of the

afterlife that has enabled me to gain a greater understanding of what the afterlife may look like

Whilst conducting this research I considered using

afterlife. This will develop my knowledge and

from a historical perspective. One of the most

objects as a way to determine the journey that a soul

understanding of the afterlife further to enable me to

prominent similarities was the value of objects

may take and how that could be considered as a

make key design decisions that I will then be able to

placed within the body, tomb, or coffin. Each of

design element throughout my design proposal. I

advance onto the next stages of my research process.

these objects are important and will aid the soul or

soon decided that this may not be the most

body in the next life. The Egyptian canopic jar

appropriate way to determine a soul’s journey to the

contains the preserved heart of the soul which will

afterlife. It could create a hierarchy between the

be taken to be weighed by Osiris determining

wealthy and the poor making it unfair that only some

whether they have a place in the afterlife. The coin

may enter the afterlife depending upon what is

which is placed in the mouth of the deceased so that

placed within their final resting place. Therefore, I

they can safely travel to the underworld on Charon’s

will continue my research further to discover other

boat and finally the Christian cross which professes

objects that would not determine a segregation of

the persons belief in God so that they may enter

class. This is when I discovered one of the most

heaven for eternity.

obvious objects left behind by all human beings that has no class division on segregation, the skeleton.

Whilst developing this research I began to realise

Therefore, I will be considering the human skeleton

that each religion provides a journey for the soul

as a key component throughout the design of the

before they enter the afterlife. For example, the

afterlife. I will also be considering creating an

Greeks/Romans must journey over the river Styx,

afterlife for the physical body where it will be used

the Egyptians must journey to the Hall of

to construct the final resting place of the body after

Judgements and Christians must travel up a flight of

118

Chapter I Part ii: Contemporary Realisations of the Afterlife

119

Introduction After discovering a range of religious interpretations of the afterlife throughout history and uncovering similarities between each afterlife and the value of objects found within coffins and chambers. This chapter will now focus upon the contemporary realisations of the afterlife and how it is perceived. I will be utilising text, films, and documentaries to uncover a clear understanding of the stages undertaken by the soul to reach the next life from a contemporary perspective and how scientific evidence of the afterlife is beginning to develop. I will be utilising Reincarnation by Mari Silva who describes the process of the afterlife through the documentation of patient experiences who have successfully

recovered

from

a

near-death

experience. I will also be considering the perspective of Sue Black’s, All That Remains to uncover her outlook on death and dying and how our family relationships

and

religious

backgrounds

can

determine our understanding of death and what lies beyond the grave. Black also gives here opinion on death and dying from a forensic anthropologist’s perspective.

120

Reincarnation

The book states: ‘Most reports begin with the

This book details the 3 stages of death which has

people mourning them. The subjects report that

been uncovered through doctors’ investigations of

feeling of frustration at the inability to talk to the

the afterlife and the near-death experiences of

living as they leave the room. There is a sense of

patients. The information has been gathered from

being pulled as a bright light illuminates the mouth

patients who have experienced passed memories

of a tunnel.

sensation of looking down on their body and seeing

from their death in another life or who have undergone successful recoveries and describe their

Once they reach the light, there is a succession of

visions of the afterlife.

positive influences ready to greet them. These can be relatives who have already passed or visions of

An N.D.E also known as a near-death experience is

scenery. Most subjects report that music is played as

when someone is pronounced dead and is

they move to the mouth of the tunnel and prepare to

undertaking their personal journey to the next life.

pass through.

This can involve a variety of sensations including the out-of-body experience, security, warmth, feelings

Subjects now describe the decision they must make.

of levitation and the presence of light. Explanations

One of the beings who greets them will ask, “Are

of personal near-death experiences can vary from

you ready to die?” If the subject says, “Yes, I am

religious to scientific.

ready to die,” then the silver cord that attaches them to their Earthly body is cut and drifts away from

This book describes the stages of death through the

them. If the answer is “No, I’m not ready to die,”

scientific research doctors have carried out through

they will be sent back to the physical world to arrive

interviews and gathered information on subject’s

seconds before they would have died.’6

personal experience with a near-death experience.

6

Mari Silva, ‘Reincarnation’, pg. 4

121

122

All That Remains, Sue Black

is the explanation behind the hallucinations of the afterlife.

Sue Black is a professor of anatomy and forensic anthropologist whose book explains her personal

The third and final stage is death where she explains

experiences with death whether they be personal or

that ‘our myths, fables and culture instil in us notions

cases she has worked on throughout her career. In

of how death will be and what we should expect.’

her chapter, Death in the Family, the author explains

Death is an extremely personal and intimate

how one way of understanding our fear of death can

transition and is the end of everything we know and

be broken down into three stages. She states: ‘Fear

feel as human beings. 7

of death is often a justifiable fear of the unknown; of circumstances beyond our personal control which we cannot know and for which we cannot prepare.’

The first of the stages is ‘dying’ (the way we will die). We question whether we will live a long or short life, will it be painful, and will we die through illness or will we suddenly be taken off the earth by an act of violence. The second is ‘being-dead’ which depends upon our own concept of the afterlife. She explains that death is an ‘unexplained destination’ that no one has ever been able to uncover. She believes in a scientific approach when it comes to near-death experiences and the brains lack of oxygen

7

Sue Black, ‘All that Remains’, pg. 69 -70

123

Surviving Death, 2020,

from past lives and began to lead her down a

body where she could see everything going on

pathway covered with thousands of flowers

around her lifeless body. Her point of view out with

exploding

reported

her body was above and to the side her where she

experiencing a shift in dimensions and felt she had

explained the interior with no walls or ceilings, she

Surviving Death is a Netflix documentary based on

experienced every second of eternity while walking

was also visited by some of her family members who

research undertaken that possibility explains the

down the path that led her to dome structure. She

had died when she was a young child.8

existence of life after death. The research is

believed that she was in heaven and felt an

conducted through interviews with subjects who

overwhelming sense of warmth and home and was

have experienced an N.D.E and their explanation of

able to look down at her body submerged under

what the afterlife looks like. It is believed that 10-

water below. She also explained that she could see

20% of people who have died and came back have

and hear doctors performing C.P.R on her.

Episode 1, Near-Death Experiences

with

every

colour.

She

reported some sort of afterlife and that near-death experiences have been documented since prehistoric

Another subject reported falling down a tunnel filled

times, the first being in 1892 by Albert Heim. Each

with vivid colours where he became submerged and

of the subjects who had gone through a N.D.E were

integrated into it. As he is falling, he looks down at

pronounced clinically dead before being brought

a beach with a man knee deep in the water who in

back to life again to tell their experiences of what

fact was his father who had died. He recalls his father

happened after death.

speaking to him explaining that it is not his time and that they would meet again soon. The subject was

One of the subjects experienced the afterlife after she

then pulled back to the living world.

was submerged under water from a kayaking accident. She experienced her soul being removed

The final subject was rushed to surgery where she

from her body and begin an upward journey where

was pronounced clinically dead for 31 seconds. She

she was greeted by spirits of her family members

explains feeling her soul being removed from her

8

Surviving Death. Dir. Ricki Stern, Netflix, 2021

124

125

Conclusion

Glasgow, and uncover the practices that took place to commemorate the dead.

Thus far I have discovered the historical, religious, and contemporary realisations of the afterlife through the documentation of art, objects, film, text, and documentaries. Each of these research elements constitute a body of research that has enabled me to begin to consider how I will conceptualise the afterlife. Throughout my design process I will begin to develop visualisations that inherit symbolic objective elements that I have discovered throughout my research thus far. By acknowledging both historical and contemporary realisations of death I have now constructed a valuable knowledge and understanding that has enabled me to make decisions on what part of the afterlife I will be focusing on.

This is when I made the decision to construct an afterlife for the physical body.

After considering

my personal location situated within the UK and observing

the

evidence

found

within

the

documentary, Britain’s Biggest Dig (2021), I have decided to focus my attention on the Victorian era.

Therefore, I will now begin to uncover more about the historical past of this era, particularly within

126

Chapter II: Victorian Life and Memento Mori Part i: Victorian Life and Funeral Practices

127

128

Introduction After the discovery of two key design decisions, this chapter will now focus upon the Victorian era and how our ancestors dealt with death. This chapter is split into two parts. The first part will be exploring the historical background of the Victorian era, their living conditions, and their obsession with death to enable me to understand why the subject of death was such an important aspect of their culture. It will also explore the origins of funeral practices and why elaborate funerals became so popular throughout the Victorian era.

The second part of this chapter will explore the decorative practice of the memento mori which was a popular artform within the practices of art and design throughout the Victorian era. It will also be analysing a variety of exhibitions, historical and contemporary artists as well as interiors that have explored the subject of death throughout their practice.

129

became polluted, families were forced into compact living spaces and the city became covered in smog

Victorian Glasgow 19th century Glasgow saw a rapid increase in deaths due to overcrowding, unsanitary conditions, and infectious diseases. The city was quickly expanding out with the High Street and along the Clyde in a swift and uncontrolled manner. This was due to the swift development of industry within Glasgow and an increase in workforce looking for places to live.

The city was quickly developing from a market town into one of the world’s largest industrial hubs. Large and insufficient tenement housing was constructed alongside previous decaying buildings forcing people into narrow lanes and passageways that were overcrowded and unsanitary. With the vast expansion of population due to the industrial

due to the increase in factories and mills contributed to the rise in disease and infant mortality.

The

adjacent

image

records

unsanitary

conditions of Glasgow’s streets. The image was taken by Thomas Annan, a photographer who was commissioned to document the conditions of Glasgow’s streets between 1868 and 1871 by the City of Glasgow Improvement trust. These photographs aided in the reformation of Glasgow’s unhygienic streets and the Improvements Act of 1866 was developed. This act oversaw the removal of closes and wynds as well as decaying buildings to enhance tenants living conditions. By improving the living conditions of Glasgow, people’s life expectancies began to increase.9

revolution, Glasgow did not have the infrastructure to house so many people and was put on clean drinking water and food supplies. Water and wells

9

the

Maddox, Amanda and Stevenson, Sara, ‘Thomas

Annan: Photographer of Glasgow,’ (London: Getty Publications, 2017)

130

Victorian Funeral Practices

Queen Victoria’s mourning practice became a

As industry began to advance, so too did the number

would dress in whole outfits to inform others of their

of middle-class workers living in Glasgow. This

state of grief. Fabrics and colours would change over

caused overcrowding and unsanitary conditions

time depending on how long it had been since their

which is when the number of deaths began to

relative had passed. High mortality rates during this

increaseSoon elaborate funerals became a common

time meant that mourning attire was worn for much

practice after Queen Victoria (reigned 1837 – 1901)

of people’s lives.

popular mourning fashion within Britain. People

mourned the death of her husband Prince Albert in 1861 for the remainder of her life. She wore only black clothing for forty-five years and an elaborate funeral took place with decorative horse drawn carts and embellished coffin, she also constructed several memorials throughout the British landscape to commemorate her husband, and soon after funeral practices became fashionable to the public. Death became a significant part of Victorian culture, objects to commemorate loved ones became popular as they believed in preserving their dead. They did so through photographic imagery depicting the

By understanding funeral practices of the Victorian

deceased propped upright as if alive to be

era, I am able to understand how significant the act

photographed along with family members. This

of death was to Victorians. This information will aid

became a common practice among Victorian

me in my design development by understanding

families to commemorate the dead and to ease grief.

what practices take place in the living realm before the deceased pass and how these design elements could be transferred into the afterlife.

131

Chapter II Part ii: Memento Mori and Death

132

Memento Mori

with death as the symbolic representation. The most

Definition: ‘A memento mori is an artwork

objects such as hour glasses, clocks, candles, and

designed to remind the viewer of their

common symbol that can be found is the skull but flowers can also be found.

mortality and of the shortness and fragility

By understanding the background of this subject, I

of human life.’10

was able to establish key components that I could utilise throughout the design process of the afterlife

Memento Mori, meaning ‘remember you must die’ is an artistic and symbolic artform which is

that include a range of materials and artefacts. These materials include bone and stone along with

dedicated to reminding us of the inevitability of death. It became popular in the late 16th century and has appeared throughout funerary art, architecture and design of the Medieval and Victorian period. memento mori began with the development of Christianity and the emphasise of divine judgement, heaven, hell, and the salvation of the soul in the afterlife. It brought death to the forefront of Victorian and medieval consciousness reminding people that with each day the passing of time grows shorter. It informed the design of many monuments, mausoleums, and gravestones throughout gravesites.

The memento mori can be depicted as any object

10

Unknown, ‘Memento Mori’ Tate website. URL: https://www.tate.org.uk/art/art-terms/m/mementomori. (01/06/21)

133

Victorian Memento Mori Objects I began my research by uncovering the historical background of the Victorian era and its decorative funeral practices. Their practices were considered to be particularly morbid and evidenced their obsession with death and the preservation of the body. This fascination with death soon extended into elaborate objects of the memento mori that commemorated their dead and eased grief. Objects such as locks of hair arranged into lockets and sculptures, death masks and photographs of deceased relatives populated the family home and mourning dress was worn to commemorate the dead. These objects are important in the development of the initial design concepts of the afterlife as it aided in the consideration

of

symbolic

objects

as

key

components that could decorate the afterlife and aid the

design

process

to

create

symbolic

visualisations.11

11

Joanna, Ebenstein, Death: A Graveside Companion, pg. 81 - 129

134

Victorian Hair Art Making art from the remains of the deceased was a popular tradition of the 19th century. Locks of hair taken from deceased relatives would be braided into jewellery by looping the hair into the shape of flower petals. The hair was also ground down for the creation of pigment to be used in paintings resembling mourning scenes. Hair art was designed and created to be worn on the body and displayed in the home creating a sense of intimacy between the deceased and the wearer.

In a short extract from Death: A Graveside Companion, Karen Bachman writes: “The keeping and saving of hair for future use in jewellery or other commemorative craft (such as wreaths) was common. But it wasn’t until the Victorian era that the ‘cult of the dead’ became almost a mania in Britain. Death was everywhere.”12 In today’s society hair is still kept in remembrance of a passed loved one 12

Karen Bachman, ‘Death: A Graveside Companion,’ pg. 85

135

136

Death: The Human Experience, Bristol, 24th October – 16th March 2016 ‘Take a moment from your busy life.

Take some time to reflect on death…

What does it mean to you?

How does it feel for others?

The journey we all will take affects the way we live Let’s talk about death.’

This exhibition showcased many objects and symbols representing death from diverse and religious backgrounds to encourage visitors to consider ethical issues, attitudes to dying and how cultures have delt with death and end of life

A particular element that I found to be of interest to my project is its exploration of death symbols, their importance throughout cultural history and how they have aided us in the understanding of what death really is and how they help to distance ourselves from death and its inevitable reality.

This exhibition has enabled me to consider how my project could potentially construct a conversation about death and dying. Not being afraid to push the boundaries of death and how it has informed my conceptual visualisation of the afterlife. My subject is no designed to be comfortable to the viewer, it is designed to provoke conversations about death, dying and its process.13

throughout history. The curators of this exhibition believed that society was not open to discussing death and dying and created this exhibition to be a starting point in the hopes that it would construct the opportunity to have open conversations on the topic of death.

13

Unknown, ‘death: the human experience’, URL: https://exhibitions.bristolmuseums.org.uk/death/.

(20/06/21)

137

Ken Currie

all sorts of ways, but the worst thing is for paintings to be ignored.” 14

Currie is a Scottish contemporary artist based in Glasgow. His paintings are representative of his

Whilst creating my visuals I will be considering how

attitudes towards mortality. His works are primarily

I can make the viewer think about death in a way that

about the body (physical and metaphorical) and how

opens up a conversation about the taboo subject

it is affected by death, illness and physical injury

similar to the way in which Currie is able to make

seeking to evoke thought and terror of morality

his viewers think.

within the viewer.

In an article from The Scotsman, Currie states the emotions and thoughts he wishes to provoke when exhibiting his work. Currie states: “The minute someone can pin something down, the painting dies a death. It would really upset me if people came out of the exhibition saying ‘I know what all that was about’. They should come out and say: ‘What was all that about?’ because that means they are continuing to think. I don’t want to produce easy images. I want to produce paintings that have that impact on people. Paintings can be terrifying in

14

Susan Mansfield, ‘Interview: Ken Currie on ‘the terror’ of mortality,’ URL: https://www.scotsman.com/arts-and-

culture/interview-ken-currie-terror-mortality1567222. (20/06/21)

138

Marc Quinn, Self

A self-portrait was made every five years to present an index of Quinn’s life and his personal aging process. As the artist utilises his own bodily fluids in

This artwork features five self-portraits of the artist

the creation of these portraits, he pushes the

over a twenty-year period using his own body as a

boundaries of the taboo. He provokes the feeling of

material. Quinn cast his head using silicone, filled it

shock and distress within the viewer. Using 10 pints

with 10 pints of his own blood and froze it to create

of his own blood he identifies the amount of blood

uncanny sculptures of himself. He believed that by

that is required to sustain a human life.

using his own body as the main material, Quinn created sculptures that were symbolic and had a real

‘I just think that if you use materials that have an

function. These self-portraits were created during a

ability to communicate directly, you open up a

period of time when Quinn was an alcoholic and was

channel and you can work through that. So you are

dependant of hospital connections to survive.

using the power of materials.’

139

Cabaret du Néant, Monmarte, Paris

would be named after poisons and infectious

supplanted by cinema. Film could create immersive

diseases. A series of magic shows took place in the

amusement far more cheaply, for it need be created

Located in the Montmartre area of Paris, the Cabaret

Room of Disintegration where by a volunteer would

only once before being distributed with ease around

du Néant, meaning Tavern of the Dead, was a

be asked to enter the coffin rapped in a shroud. Their

the world.’ 15

immersive Parisian nightclub themed around subject

bodies were then magically dissolved into skeletons

of death. Customers would be greeted by a doorman

before reappearing as a human again.

What is interesting about the interior of this morbid theatre was its playfulness with death. Considered

dressed in black funeral attire. Customers would sit at tables made of coffins, and light fixtures such as

‘Although

such

amusements,

were

now as a taboo subject, historically death was seen

candelabras were constructed in the form of

commonplace a century ago, might seem odd today,

as an entertaining way to consider our mortality.

skeletons. The interior was split into a series of

it is clear that death and darkness have long thrilled

This interior has helped me to gain an insight into

rooms, the first named Salle d’Intoxication it was

humans. The reason such attractions died out was not

how I can portray a project about death that intrigues

dimly lit and presented images of everyday Parisian

that humankind outgrew this vicarious pleasure;

people and starts conversation the same way the

life on its walls that would soon dissolve into

rather, it was a shift of mediums: the actored,

Cabaret du Néant has.

skeleton figures at the flick of a switch and drinks

ephemeral spectacle endlessly repeated was

15

Joanna Ebenstein, Death: A Graveside Companion. Pg. 288 - 309

140

which

Conclusion

materials of the memento mori that I want to

By constructing a background knowledge of the

utilise bone as a material to construct the afterlife

Victorian era, I was able to understand why death

whilst also using a range of symbols of the memento

became such an important aspect of their daily lives.

mori to decorate it. By utilising these materials and

The memento mori was their way of expressing their

artefacts I can begin to construct visuals of the

grief in a way that is both intricately delicate and

afterlife that encompass the human body, death, and

morbid. I also discovered a number of symbolic

the Victoriana within the practice of interior design.

translate into the afterlife. I made the decision to

artefacts such as hourglasses, death masks and postmortem photography. Each of these relate to

After considering bone as a material that I could

memento mori and one of the most prominent and

construct the afterlife from, I will now research

important symbols of this artform was the human

further into the structure of bone and how it has been

body and its skeleton. Having the body on show was

used to construct decorative artworks and interiors.

an accepted practice during this era and its skeleton was a notable subject throughout the practice of art and design. I also discovered its importance within the practice of interior design as the human skeleton adorned the Cabaret du Néant in Paris which also hosted shows on the decomposition of the body. The contemporary works of Ken Currie and Marc Quinn inspired me to push the boundaries of death as a subject within the practice of interior design similar to ways in which they have to produce their works.

Each part of this research has enabled me to make further decisions on the types of objects and

141

Chapter III Bone as a Material

142

Introduction This chapter will focus upon the structure of bones and their value within a range of practices that include

palaeontology,

forensic

anthropology,

anatomy, and interiors. I will be utilising the texts of Written in Bone by Sue Black and Skeleton Keys by Brian Switek to understand bones structural value and its importance after we die. These texts will provide me valuable knowledge of bone from the perspective of scientific researchers. This chapter will then go on to explore the sculptural works of Frederick Ruysch, a Dutch anatomist who utilised the human body to construct his delicate sculptures along with artefacts of the memento mori. Finally, this chapter will explore bone as an important material element within the interiors of the Chapel of Bone (Portugal) and the Paris Catacombs as a way to commemorate the dead and reflect upon our own mortality.

143

Written in Bone, Sue Black

This has made me consider creating an interior

This book explains the importance of our bones as

flesh utilising our last remnants of life on earth, the

storytellers after we have passed. Our bones explain

bone, as a structural material along with the artefacts

our habits such as what we eat, where we go and the

that I have discovered earlier on in my research to

things we do, each having their own story to tell even

create an afterlife representative of the memento

after we have passed. Sue Black, a forensic

mori.

concept of the afterlife that strips the body of all

anthropologist, takes us on a journey of the skeleton from head to toe, explaining the importance of each bone in order to create a better understanding of what our lives looked like before we died.

The author explains how the skeleton is the only physical element of our body which is left behind to be examined by a forensic anthropologist to understand our life before death. She states: ‘Our bones are the scaffold for our bodies and they survive long after the skin, fat, muscle and organs have dissolved back into the earth. They are designed to be robust, to hold us upright and to give us form, so it is logical that they should be the last sentinels of our mortal life to bear witness to the way we lived it.’16

16

Sue Black, ‘Written in Bone’, pg. 3

144

Skeleton Keys, Brian Switek

wraps around our vital organs. It never moves by

This book explores the topic of bones, explaining

manifested itself in wings, sails, horns, armour, and

their natural and cultural history, where our

an even greater array of appendages and ornaments

skeletons came from and what purpose they hold

that have been accumulating since the time of its

within us. Others can learn from us when our bones

origin.’ 17

itself but is essential to our ability to move. It has

become the only remaining artefact left when we are no longer living. It is an informative book which has helped me to uncover the importance of bone both inside and outside of the body as it has a rich scientific and cultural significance. It is a living tissue filled with its own blood vessels along with various cells, minerals, proteins, and vitamins yet it is a prominent symbol of death. It was at one point a historically popular building material used for weapons, armour, and interiors. The author states: ‘Yes, bone is a durable, mineralized tissue made of a hard part and a flexible part, but it’s also one of the most fantastic building materials that evolution has accidentally spit out. In us bone is a structural core, giving our bodies support while also acting as a foundation for our flesh and internal protection that

17

Brian Switek, ‘Skeleton Keys: The Secret Life of Bone’, pg. 7

145

Bone Structure

The importance of understanding the structure of

‘Bone, rigid body tissue consisting of cells

and patterns that could be found and used throughout

embedded in an abundant hard intercellular material.

the development of the afterlife.

bone for me was to understand the types of textures

The two principal components of this material, collagen, and calcium phosphate, distinguish bone from such other hard tissues as chitin, enamel, and shell. Bone tissue makes up the individual bones of the human skeletal system and the skeletons of other vertebrates.

The functions of the bone include (1) structural support for the mechanical action of soft tissues, such as the contraction of muscles and the expansion of lungs, (2) protection of soft organs and tissues, as by the skull, (3) provisions of a protective site for specialized tissues such as blood-forming system (bone marrow), and (4) a mineral reservoir, whereby the endocrine system regulating the level of calcium and phosphate in the circulating body fluids.’ 18

18

Robert Heany, ‘Bone Anatomy,’ URL: https://www.britannica.com/science/bone-anatomy.

(01/07/21)

146

Frederick Ruysch

symbolic objects of the memento mori such as

landscape that encompasses the human body and

scythes, mayflies and bones and accompanied by

interior design. I felt each of his dioramas provoked

Frederik Ruysch (1638 – 1731) was a Dutch

inscriptions detailing the unstable nature of human

a sense of the beautiful and the sublime which was

anatomist who was known as a pioneer in the

life.

something that I had desired to accomplish with the

preservation of organs and tissue. His Repository of Curiosities displays a variety of dioramas assembled using different parts of the human body including bones, blood vessels, kidneys, and gallstones.

Ruysch primarily used foetal skeletons to produce elaborate sculptures of bodily landscapes evoking feelings of discomfort within his viewers. Some of his most famous works depict foetal skeletons

final atmosphere and visual representation of my Ruysch’s extravagant works have inspired me to

final design proposal. My goal is to achieve an

consider creating similar detailed landscapes that

interior which is elaborate yet disturbing, adding

evoke emotion and conversation within the viewer. I

objects of the Victorian memento mori to create

will be using human bone as a material throughout

intertwine symbolic references similar to Ruysch’s

the design concept of my afterlife as it closely links

evocative and disturbing sculptures.

to the symbolic memento mori. By utilising the structural elements of bone, I will be able to create a

holding

147

Capela dos Ossos (Chapel of Bones), Évora, Portugal

“Where are you going in such a hurry traveler?

Pause… do not advance your travel; You have no greater concern Than this one: that on which you focus your sight.

The Chapel of Bone is decorated with over 5,000 human skulls and bones found within 43 medieval cemeteries throughout Évora. Its construction began during the 19th century when it was believed that the

Recall how many have passed from this world, Reflect on your similar end, There is good reason to reflect If only all did the same.

cemeteries throughout the city were taking up too much valuable land. The Monks did not want to condemn the souls of the corpses by destroying them, so they decided to relocate the bones and build a chapel dedicated to the deceased. The bones of the skeletons found were placed within the interior walls of the chapel, embedded in concrete in a variety of patterns. They believed that this would create a peaceful space to meditate and reflect upon our

Ponder, you so influenced by fate, Among all the many concerns of the world, So little do you reflect on death; If by chance you glance at this place, Stop… for the sake of your journey, The more you pause, the further on your journey you will be.”19

mortality on this earth. A poem written by Father Antonio da Ascencao can be found hanging from one of the pillars clearly explains the chapels purpose as a reflective space on mortality as death has a clear presence within the chapel.

19

Dylan, ‘Portugal’s Chapel of Bones,’ URL: https://www.atlasobscura.com/places/portugalschapel-bones. (10/06/21)

148

Paris Catacombs Although both of these interiors could be considered controversial and morbid, they each provide visitors The catacombs are an underground tunnel system

the opportunity to understand how interiors

filled with over several million Parisian skeletons

constructed or decorated from bone can be an

from throughout history embedded within its walls

accepted practice within a variety of cultures. It also

and pillars. Its construction began in the late 18th

gives people the freedom and space to learn about

century when Paris saw a rapid rise in health

death and reflect upon it. When constructing the

concerns within the city’s cemeteries, therefore the

afterlife I will be considering a similar practice that

decision was made to excavate the site and transfer

give views of my work on opportunity to explore

the corpses to an underground site that was

death and open up conversation about the topic.20

accessible to loved ones. It soon became accessible to the public by invitation and a register was placed within the site to encourage visitors to document their experiences of the site and it soon became an extremely popular site to visit. With its succession came requests to be buried here from wealthy figure throughout history. Today the catacombs are still one of the most popular sites to visit in Paris with over 550,000 yearly visitors, inviting them to reflect upon their mortality and learn about the cities people.

20

Unknown, Paris Catacombs, URL: https://www.catacombes.paris.fr/en (20/06/21)

149

Conclusion

Now that I have established a number of key design decisions that will aid me in the construction of the afterlife. I will now consider a location where the

This chapter enabled me to understand the

deceased are able to access the afterlife.

importance of bone as a significant material used throughout the design of many objects and interiors through history. Through this research I found the works of Frederick Ruysch to be particularly valuable as I begin to consider the stylistic approach I am looking to achieve when I begin construct the final visuals of the afterlife. I also discovered that bone has no social hierarchy, and it is also a significant symbol of the memento mori found throughout interiors and their artefact. Therefore, I will be using bone as a primary material throughout sketches, collages and visuals of the afterlife. By utilising the structural elements of bone, I will be able to construct a landscape that encompasses death, the human body and interior design. Although bone is considered to be a controversial material, its structural

properties

hold

conceptual

value

throughout the development and finalisation of my design process. I also found this quote by Sue Black to be of interest to me as it helped me to understand the importance of bone and its longevity.

150

CHAPTER IV The Victorian Cemetery and Site Analysis of the Glasgow Necropolis

151

Introduction This chapter will detail the decisions I made in choosing an appropriate site for the entrance to the afterlife. It will also uncover the historical background of the Victorian cemetery, its origins and its importance from the 19th century utilising Sarah Rutherford’s book The Victorian Cemetery.

This chapter also documents my journey through the Glasgow Necropolis, its historical background, and the types of gravesites I discovered whilst conducting my site analysis. I also document the symbols and textures used to construct the gravesites that give insight into people’s personal interest, and religious backgrounds. I documented this utilising photographs and mapping to construct a detailed analysis of the cemetery.

152

Choosing a Location

After making the decision to utilise a cemetery to

Glasgow Necropolis was the most appropriate

chosen the Glasgow Necropolis as a site, I will now

construct and locate the entrance the afterlife, I

location to choose. This is due to its detailed

go on to document my journey, photographic

began with the consideration of three sites that

historical past, it being the largest of all three and

evidence and analysis of the site in order to begin to

included Sighthill Cemetery (1840), the Southern

possessing the most gravesites which will be

construct the entrance to the afterlife.

Necropolis (1840), and the Glasgow Necropolis

important in the development of the design concept

(1831). Each site possessed key attributes that could

as I will be utilising the design elements of the

be translated into the development of the afterlife.

cemetery. It’s decorative elements also hold

However, after visiting each cemetery, I felt that the

conceptual value as they relate to my research of the Victoriana and the memento mori. Now that I have

153

The Victorian Cemetery

design, architecture, planting and was an asset to

within the graveyard. I will now be able to document

society countrywide. Garden cemeteries were soon

my findings in a clear and detailed manner that will

developed with roads and pathways to provide

help me to further develop my design proposal to

The Victorian cemetery was first constructed in the

access to the chapels and gravesites. They also

consider how elements discovered throughout the

19th century within parish graveyards where the

provided

necropolis can be integrated within my final design

responsibility of the dead was that of the Church of

gravesites and were inspired by country-house and

England and Scotland. As the industrial revolution

public pleasure gardens that enabled people to

took place, populations within urban areas grew

socialise and enjoy walks within beautiful garden

rapidly and parish churchyards became under

landscapes. The cemeteries were divided religiously

pressure even when they were full. The demand for

into sections and price points of grave plots. The

burial grounds out with the churchyard was high due

closer to the chapel the more expensive the plot as

to the number of deaths increasing each year and

the person was considered closer to God. Grave plots

sanitary conditions becoming extremely poor, with

further away from the chapel, the poorer the people

the spread of disease becoming rife within local

and coffins were stacked on top of one another, in

communities. A new type of landscape was required

some cases nine coffins could be stacked to make

to be able to bury the dead that were not necessarily

room for others within the chapel grounds.21

pleasure

for

those

visiting

family

religious and accommodate the rapid expansion of corpses throughout cities.

This text has helped me to construct a basic knowledge of the British Victorian cemetery which

The Victorian cemetery was considered one of the

will aid me in the journey and documentation of my

most vital constructions within Victorian society

site. By understanding the basic elements of a

along with public parks, boarding schools, asylums,

Victorian cemetery, I can create a better personal

and prisons. The cemetery was a new type of burial

understanding of the location, hierarchies, symbols

ground for the dead that was innovative in landscape

and types of gravesites that I can expect to find

21

Sarah Rutherford, ‘The Victorian Cemetery’, pg.

8-11

154

visualisations.

History of

Glasgow Necropolis

peaceful garden filled with trees and pathways. It was soon sold and drastically revised to become Glasgow’s first ‘hygienic’ cemetery and prevented

The Glasgow Necropolis was first conceived in 1831

the spread of infectious diseases. A design

when the Glasgow City Chamberlain and writer

competition was put into place for the new cemetery

John Strang presented his vision of creating a

where several established architects of the time

centralised cemetery, within the city on a

applied. John Bryce who based his design on the

magnificent scale. He proposed this in his writings,

Père-Lachaise cemetery located in Paris was the

Necropolis Glasguensis: Thoughts on Death and

winner and the 17 hectares of luscious gardens soon

Moral Stimulus. His motivation for creating this new

began to metamorphosise into what we know today

cemetery was the outbreak of death and disease that

as the Necropolis (meaning city of the dead). It was

had persistently taken place throughout the city. It

opened in 1804 and accessible to all faiths, including

was during the 1800’s that nearly 5000 people died

those who professed no religion. Some of the most

within the city in one year from diseases such as

prestigious Glasgow architects such as Alexander

cholera, typhus, and other fever pandemics. The city

‘Greek’ Thomson, Charles Wilson and J T Rochead

had no space for the deceased, so were buried to the

had constructed their best monuments here.

north of the cathedral, in large pits. Strang believed that his vision would give the citizens of Glasgow

The necropolis is a well-established cemetery within

the opportunity to have their final resting place be a

Glasgow’s busy city centre to this day. It is to the

clean and bright and peaceful haven.

east of the cathedral where it joins the Bridge of Sighs (designed by David Hamilton and completed

Strang’s proposal was reviewed by the Lord Provost

in 1833) which was described as ‘the separation

James Ewing who accepted the proposition eagerly

between time and eternity.’22

and the proposed area, originally named Fir Park, a

22

Carole Foreman, ‘Glasgow Then and Now,’ pg. 9

155

The Glasgow Graveyard Guide I utilised the book The Glasgow Graveyard Guide

by Jimmy Black and Michael Turnbull to help me identify grave sites and recognise the decorative elements that had a personal connection to the deceased. It also provided me with a map of the necropolis which helped me to make sure I explored all of the cemetery.

‘The visitor making the journey through the graveyards of Glasgow will surely become aware of a special Glaswegian condition – apart, that is, from the common condition of death. You feel it when you start to absorb the atmosphere of the city – its elements of the sad, the arrogant, the courageous, the righteous, the hilarious and the hideous, blended in strange proportions, all to be assimilated and enjoyed along with the weird and wonderful stories of the occupants of those quiet places of timeless repose.’ 23

23

Jimmy Black & Michael Turnbull, ‘The Glasgow Graveyard Guide,’ pg. 1

156

The Journey During my research process I visited the Necropolis twice. For the first visit I did not focus my attention on anything particular about the area, only the experience I felt whist walking and getting lost. I wanted to understand the atmosphere presented to me within the graveyard which I found to be calm, peaceful, and informative.

The second visit I focused my attention on the symbology, architecture, textures, and gravestone details. I began my journey to the west of the necropolis and worked my way up. Whilst visiting I discovered a vast number of detailed headstones, grand mausoleums, and dramatic monuments. It soon became clear to me that the highest point of the graveyard is where Glasgow’s most prominent merchants, poets, and holy men were buried. These were people such as John Henry Alexander (owner of the Theatre Royal), Dugald Moore (poet) and Duncan

MacFarlan

(Principal

of

Glasgow

University) just to name a few.

157

158

Necropolis Hierarchy After reading the Victorian cemetery by Sarah Rutherford, I was able to easily identify the hierarchy that took place within the cemetery. It was clear that highest point of the graveyard is where some of Glasgow’s most prominent merchants, poets, and holy men were buried. These were people such as John Henry Alexander (owner of the Theatre Royal),

Dugald

Moore

(poet)

and

Duncan

MacFarlan (Principal of Glasgow University) just to name a few. As I journeyed furthered into the graveyard, I discovered the middle-class areas of the Necropolis where people who predominantly had professions in the military and ship industry. Finally, to the east of the graveyard was the poorest section where people buried here had small headstones similar to the ones that would be used to commemorate a loved one today. By documenting the sites hierarchal state, I have a developed an understanding that the afterlife is not something that I wish to segregate by wealth or religion. I will be integrating symbols within the graveyard that relate back to the memento mori and will use some of the decorative elements found on gravestones to decorate my space and relate back to the necropolis.

159

Architecture - Mausoleum

approach as some include coloured glass and others

These mausoleums will aid me in the development

Romanesque pillars. Some of the stone detailing

of unique structures within the afterlife that the

A Mausoleum is a structure which houses the body

enhances the buildings structures creating decorative

deceased can experience whilst journeying through

of an illustrious and wealthy individual. These

patterns that give insight into the deceased’s culture,

the afterlife.

magnificent structures were located around the

class, and personal interests.

highest point of the Necropolis, representing the wealth and importance of deceased whilst in the

After documenting these structures and analysing

living realm. What is interesting is the inability to

their material properties and decorative elements, I

see inside the decorative structures as they are

will be utilising these components to construct parts

locked shut for only the deceased can inhabit the

of the afterlife with. Each of these elements holds

small spaces. I enjoy the structural elements of these

key value throughout the design process of the

mausoleums as each is individual in its stylistic

afterlife due to their unique appearance.

160

Monuments

be utilising some of these decorative embellishments

A monument is a structure built to commemorate the

journey that the deceased will take through the

life of a notable person or event. What I found to be

afterlife. Each of these deconstructed artefacts can

of interest is the architectures stylistic approach and

be transferred into the afterlife blurring the line

the small details that can be found when examining

between the lands of the living and the dead .

throughout my design process to illustrate the

each structure. It is clear that monuments provide evidence of the deceased’s personal interests or religious background. I documented these structures because of the highly decorative elements they possess. Each is uniquely constructed, and some can give us insight into the person who once lived. I will

161

The Architectural Uncanny ‘But beginning in the eighteenth century, there emerged a second and more extended form of bodily projection in architecture, initially defined by the aesthetics of the sublime. Here, the building no longer simply represented a part or whole of the body but was rather seen as objectifying the various states of the body, physical and mental. Edmund Burke, followed by Kant and the romantics, described buildings not so much in terms of their fixed attributes of beauty but rather in their capacities to evoke emotions of terror and fear.’24

Anthony Vidler, ‘The Architectural Uncanny,’ pg.

71-72

162

Symbology Throughout my journey within the Glasgow Necropolis, I documented a range of symbols that I had discovered during my time at the Necropolis.

Symbols can a inform us of the deceased’s personal interests, religion, and wealth. I then documented three symbols which I found to be most prominent symbols

that

decorated

the

gravestones,

mausoleums, and monuments. Each symbol holds a different meaning and can be translated to help uncover personal stories of each of the deceased located within the graveyard. For example, Lambs are representations of young Christ and are predominantly found upon children’s graves. The hourglass with wings represents the passage of time and reminds us about the reality of our mortality.

Each provides a unique story or meaning, and I found many symbols that related back to the research I had conducted at the beginning of this journal relating to the memento mori. I will be utilising a variety of these symbols to decorate the afterlife to construct a series of symbolic visualisations that refer to the memento mori, death and the passage of time.

163

164

165

Symbolic Division At first, I considered using some of the most prominent symbols I found throughout the graveyard as elements of choice for souls to take with them to one of three afterlives. After considering how these elements could cause a class divide within the afterlife, I decided to reconsider my decision. I reanalysed the current research and site analysis that I had conducted thus far to re-evaluate the structures, textures, and decorative elements that I found. I wanted to construct a completely new afterlife that did not have anything to do with religion or hierarchies. Therefore, I decided to re-consider the objects I had chosen and the representation of the afterlife by considering the variety of symbols that I found relating to memento mori instead as key components within the development of the afterlife.

166

Textures Whilst documenting my findings within the Necropolis I found a variety texture which could be utilised whilst constructing the interiors of the afterlife. I found these textures to be aged and cracked and made of materials such as stone, granite and marble. I will be utilising these textures throughout the design process of the afterlife to construct interior artefacts that can relate back to the Glasgow Necropolis.

167

Conclusion Reflecting upon the research I have undertaken so far; I have understood that the Victorian cemetery hold potential for a class division between gravestones and the objects found within the graveyard. I do not believe this should have any influence upon the journey the soul will take into the afterlife whether the person was wealthy or poor.

Therefore, I will still consider using design elements found within the graveyard to influence the design of the entrance to the afterlife which fits within its designated location. I had realised that the most common thing that everyone leaves behind after death is their skeleton which holds no potential class divide therefore whilst entering the afterlife the body will be stripped of all flesh leaving only the physical skeleton of the soul which will eventually become a part of the final interior. The design concept for the afterlife will be based upon the symbolic memento mori and the use of bone as a key texture within throughout the design concept. There will be a range of rooms which utilises the skeletal structure of the body to form the interior spaces of the afterlife. The living will not be able to see or access this space

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Chapter V The Entrance to the Afterlife

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Introduction After re-examining the research I have documented thus far I am now able to construct the entrance to the afterlife. This chapter details the exploration of the entrance using photographs, sketching, and collaging to demonstrate the design decisions I made to aid me in the final visualisations of the entrance. I will be utilising the site analysis I had conducted of the Glasgow Necropolis and Edgar Allan Poe’s quote to construct an entrance that blurs the threshold between life and death.

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Initial Design Concepts I began by collecting a variety of images that I had taken whilst developing my site analysis. I used these images to begin to create a series of sketches that could be further developed into collages.

Through sketching and collaging I was able come to a final decision of how the entrance to the afterlife will look. I created this initial collage but felt it did not represent the necropolis the way I wanted it to so I began to develop this further by adding more symbolic references that would relate more to the necropolis, its decorative structures and blur the threshold between life and death.

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The Entrance to the Afterlife The entrance to the afterlife is where the deceased’s journey begins. I was inspired by Edgar Allan Poe’s quote which aided me to develop a final visual that blurs the line between the living and the dead. By researching the historical and decorative funeral practic es of the Victorian era and conducting site analysis of the Glasgow Necropolis in its current state, I was able to create a series of sketches and collages that aided me throughout my development.

I found it difficult to finalise my visual concept of the entrance as I was unsure on how to blur the boundary between life and death. This visual is not meant to be a direct representation of the Glasgow necropolis, but instead I chose a variety of elements that I found throughout the cemetery. I then reconstructed these elements together to create an entrance that represented various aspects of the necropolis. It also gives the viewer an insight as to how the afterlife will look before the deceased begins their journey.

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The Entrance Location The entrance to the afterlife will be placed at the back of the Necropolis. This is a quiet area that has no gravestones nearby and is located next to a wall that separates the living from the dead. I chose this location as I felt there would be less hierarchy as there are no gravestones that populate this site nearby. This site will only be visible to the dead who must travel from their graves to the entrance to begin their journey to the afterlife of the body.

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Chapter VI The Creation of the Afterlife

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Introduction Now that I have located and constructed the entrance to the afterlife this next chapter will now focus on the design process of the afterlife. This chapter is split six parts explaining the materials, atmosphere, the design process and the decisions I made to be able to construct the final visualisations of the afterlife. The research that I have conducted thus far has aided me in making decisions on the types of stylistic approach I am trying to achieve along with the types of materials that I will be using throughout the creation of the afterlife. This chapter begins by utilising three texts of theorists that consider the human body and feelings of terror, disgust and the eerie to. These texts include Edmund Burke’s, A Philosophical Enquiry into the Sublime and Beautiful, Anthony Vidler’s The Architectural Uncanny and Mark Fisher’s The Weird and the Eerie. These texts will aid me in the development of the atmosphere that I am looking to create throughout the space.

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Chapter VI: Part i: Atmosphere

178

The Sublime and Beautiful

manner that resembles actual pain. Whatever therefore is terrible, with regard to sight, is sublime too, whether this cause of terror, be endued with

Burke’s text aided me in understanding the Sublime

greatness of dimensions or not; for it is impossible to

and its structure caused by emotions of fear,

look on any things as trifling, or contemptible, that

particularly peoples fear of death. These aspects of

may be dangerous.’25

the sublime can be related to objects and interiors that project ‘vastness, infinity and magnificence’ and its ability to cause tension within the body.

Burke states: Of the passion caused by the SUBLIME ‘the passion caused by the great and sublime in nature, when those causes operate most powerfull, astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror.’

Terror ‘No passion so effectively robs the mind of all its powers of acting and reasoning as fear. For fear being an apprehension of pain or death, it operates in a

25

Edmund Burke, A Philosophical Enquiry into the Sublime and Beautiful, pg. 47

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The Architectural Uncanny

described concisely as (1) the notion that building is body of some kind; (2) the idea that the building embodies states of the body or, more importantly,

I then focused my attention on Vidler’s text which

states of mind based on bodily sensation; and (3) the

explores particular aspects of architecture that hold

senses that the environment as a whole is endowed

the psychological experiences of the uncanny.

with bodily or at least organic characteristics.’.’26 Pg.

Utilising a variety of practices such as literature, philosophy, and psychology from the beginning of

70

the 19th century to the present, Vidler demonstrates his interpretations of architecture comparing them to the dismembered body and describing their terrifying traits. Vidler states: ‘The history of the bodily analogy in architecture, from Vitruvius to the present, might be described in one sense as the progressive distancing of the body from the building, a gradual extension of the anthropomorphic analogy into wider and wider domains leading insensibly but inexorably to the final “loss” of the body as an authoritative foundation for architecture. Three moments in this successive transformation of bodily projection seem especially important for contemporary theory: these might be

26

Anthony Vidler, ‘The Architectural Uncanny’ pg.70

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The Weird and the Eerie ‘What the weird and eerie have in common is a preoccupation with the strange. The strange – not the horrific. The allure that the weird and the eerie possess is not captured by the idea that “we enjoy what scares us.” It has, rather, to do with the fascination with the outside, for that which lies beyond standard perception, cognition and experience. This fascination usually involves a certain apprehension, perhaps even dread – but it would be wrong to say the weird and the eerie are necessarily terrifying. I am not here claiming that the outside is always beneficent. There are more than enough terrors to be found there; but such terrors are not all there is to the outside.’27

27

Mark Fisher, ‘The Weird and the Eerie’ pg. 8-9

181

Chapter VI Part ii: Materials

182

183

Chapter VI: Part iii: The Burial Vault

184

Initial Sketches and Collages

throughout the design process, they did not

enable me to acknowledge the stylistic approach I

communicate the desired approach I was looking to

was looking to achieve. They also helped me to

Throughout the design process of the first chamber

achieve. I want the afterlife to not only use more

understand how some of the material elements will

of the afterlife, I had drawn several sketches that

materials related the memento mori and death. I also

look within the visualisation of the site. Therefore, I

enabled me to make decisions on how the chamber

wanted some of the elements to relate back to stone

will not be developing these initial visuals of the

was going to look. I began with developing this

memorials and gravesites I had discovered within

chamber, but I will still be utilising this process and

initial sketch that then progressed to a small collage

the Glasgow Necropolis. By relating back to the

the materials of bone and soil. I will now re-evaluate

of the space. After constructing both the sketch and

necropolis, I would be able to blur the boundaries

my findings throughout the Glasgow Necropolis to

the collage I was quickly able to identify that this

between the land of the living and the land of the

construct new visuals of the chamber.

was not the direction I was looking to take. Although

dead.

both the sketch and the collage contained some of

Although these ideas would not be included within

the material elements I was wanting to use

the final visualisations of the chamber, they did

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After developing the initial concepts of the first chamber of the afterlife and realising that these sketches and collages did not detail the type of stylistic approach I was looking to achieve, I reconsidered the site analysis I had developed thus far in the journal to reconstruct the chamber. This is when I began to consider the first element after the death process which is the burial of the deceased.

Whilst documenting my site analysis I was easily able to identify the hierarchy that took place within the cemetery. This is when I considered creating the first chamber as a space that reburies the body. This gives every soul the opportunity to have an elaborate funeral which would deconstruct all hierarchies within the afterlife. During my time at the necropolis, I found a number of decorative memorial stone coffins that were constructed to commemorate the dead. These coffins detailed text, images and symbols that gave me insight into the desired journey of the deceased along with their personal interests and religions. This is when I decided to consider the coffin as the first element of the afterlife that would begin the deceased’s journey down to the next stage of the decomposition process.

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Vault Sketches After deciding to utilise the stone coffin as a way to

could be further developed into the design concept

rebury the dead. I began to create sketches and CAD

of the burial vault. I felt that these could be

drawings of the initial designs of the burial vault. I

developed within the final visualisation. I also

based this idea on the different stages of body

played around with the symbols that would be

decomposition after death and the variety of coffin

inscribed onto the coffin that could give the viewer

memorials I found throughout the Glasgow

an insight to the other chambers of the afterlife. This

Necropolis. These sketches detail my initial ideas of

is when I began to construct the final visuals and cad

how I envisioned the burial vault to look. I found that

drawings of the burial vault.

both of these sketches possessed key elements such as the artefacts, interior elements and symbols that

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Once the deceased has entered through the entrance to the afterlife, they are absorbed down through the soil into an underground vault where they will begin the process of decomposition. The deceased is placed atop an elaborate stone coffin and is reburied, thus providing every soul the opportunity to have the same elaborate funeral and eliminate any

The artefacts that are located hanging from the ceiling of the burial vault are symbolic references to the

memento

mori.

These

include,

bones,

hourglasses, death masks and black drapery that represent the symbols I found throughout the research process of the memento mori and the Victoriana.

social hierarchies. The stone coffin that is depicted in this visual is based upon the variety of decorative coffins I found whilst undertaking my site analysis and the symbols which decorate it give an insight into the journey the body will take through the space.

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189

Coffin Symbols These symbols are engraved upon the side of the

considered the types of engravings I found on the

stone coffin to inform the viewer of the four

coffin located in the necropolis which detail the

chambers the deceased will journey through within

deceased’s journey. This is when I decided to

the afterlife. At first, I thought about using the skull

engrave the symbols that related to the journey of the

and crossbones detailed in the initial sketches due to

space to give the viewer insight as to how the

its relevance to death but I then realised that I would

deceased will descend through the afterlife.

already have many objects within the final visual that would detail objects of the memento mori. I also

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Chapter VI: Part iv: The Removal of the Skin

191

Removal of the Skin Initial Sketches After making the decision to use bone as a material

provide enough detail so I began to create a series of

and utilise Ruysch’s dioramas to create a desired

small collages that could be built upon to develop the

stylistic approach, I began creating a series of

desired style I was looking to achieve. After having

sketches that detail the initial design concepts for the

established the materials and stylistic approach I am

second chamber of the afterlife. These sketches

taking to construct the next chamber, I then

aided me in developing the final visual of the second

developed these sketches into collages that provide

stage which uses bone as a primary material. They

more detail of the final space.

also helped me establish where the bones would be placed and how they would contribute to the overall structure of the chamber. However, they did not

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I then took the sketches and began to develop small

The deceased will be guided into the rib cage which

collages that would aid me in making the final

will envelop the body and begin the process of

decision as to how I wanted this stage of the

decomposition. Once the deceased is buried the body

decomposition process to look. I then began to add

is absorbed by the soil and is transported down to the

more detail to these collages over time by including

next chamber.

symbolic references and souls to add context to the design process.

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194

From the vault the body is lowered into the next stage of decomposition. The main material used throughout this visual to construct this interior is bone. Bone is a durable material that has been used throughout history for decorative practices along with artefacts such as hourglasses, scythes, black drapery, and death masks. These are all elements of the memento mori and can be found decorating the interior of this space and others. The bones that are found within this visual belong to those who have already travelled through the space and undergone the decomposition process.

195

I used a range of symbols to decorate the afterlife

mori and interior design. These symbols also provide

with. Some of these symbols included black drapery,

context as each holds its own story, yet all have

bones, death masks and hourglasses. Each of these

similarities in that all of the symbols remind the

holds key conceptual value within the visuals as they

viewer of their mortality.

encompass death, the body, Victoriana, the memento

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Chapter VI Part v: The Skeleton (Bone Marrow)

197

Bone Marrow Anatomy

central cavities of the long bones are filled with yellow marrow.’28

‘Bone marrow, also called myeloid tissue, soft, gelatinous tissue that fills the cavities of the bones.

Bone marrow is either red or yellow, depending upon the preponderance of hematopoietic (red) or fatty (yellow) tissue. In humans the red bone marrow forms all of the blood cells with the exception of the lymphocytes, which are produced in the marrow and reach their mature form in the lymphoid organs. Red bone marrow also contributes, along with the liver and spleen, to the destruction of old red blood cells.

Yellow bone marrow serves primarily as a storehouse for fats but may be converted to red marrow under certain conditions, such as severe blood loss or fever. At birth and until about the age of seven, all human marrow is red, as the need for new blood formation is high. Thereafter fat tissue gradually replaces the red marrow, which in adults is found only in the vertebrae, hips, breastbone, ribs, and skull and at the ends of the long bones of the arm and leg; other cancellous, or spongy, bones and

28

Emily Rodrigues, ‘Bone Marrow Anatomy,’ URL: https://www.britannica.com/science/bonemarrow. (05/07/21)

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Initial Sketch By understanding the structure of bone marrow and its material properties, I was able to begin to develop the initial sketch concepts of the bone. This sketch enabled me to consider the placement of the bone marrow and its purpose within this space. I then created a more detailed sketch of the bone marrow which I then developed further to construct a better visualisation of the structure before it was placed within the final visual.

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1100

This collage shows the journey and decomposition of the body through the space. As the deceased moves down layers of the body are absorbed into the soil until only the skeleton remains.

1101

1102

Final Visualisation The deceased is transported down through the soil

section to continue the remembrance and reality of

where they are stripped of their skin, leaving only

our mortality.

bone. The skin is absorbed within the bone marrow chamber that is used to revitalise the soil. The body has then been transported through the second last decomposition process before they reach the final resting place of the soul. Similar artefacts of the memento mori have been repeated throughout this

1103

1104

Chapter VI: Part vi: The Final Resting Place

1105

Sketch and Collage When I began to create the final resting place of the soul, I first created some sketches and collages to consider a few different ways to approach this design. For this first design concept, I thought about using muscle as the primary material to construct this chamber of the afterlife. Whilst developing this concept I realised that it was not the way in which I wanted to represent the final stage of the afterlife. I found it very difficult to visualise and felt it had not enough relation to my research and current design process. After beginning to detail the collage I decided that the concept was not visually appealing and would be confusing to understand. Therefore, I stopped the development of this collage and reevaluated the design concept by reviewing the final collages I have produced so far that were successful.

1106

Sketches These two sketches detail my second attempt at

I utilised structural elements and materials such as

developing the final resting place of the afterlife. I

stone and pillars to construct these visuals.

began by analysing the types of structural elements and textures that I had found during my time at the necropolis. I also utilised the decorative parts of these structures to consider how I could create my own interpretation of these to develop a new entrance to the final resting place of the soul.

1107

1108

1109

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Finally, the deceased is transported down through the soil once more where the skeleton is then absorbed leaving only the soul. This is the final chamber of the afterlife where the soul is finally laid to rest. This visual was inspired by the Glasgow Necropolis in its current state where many of the gravesites have decayed and broken similar to the way in which the body decomposes over time. The development for this final visual consisted of sketches, models and collages that detailed the structure of the portal to the final resting place of the soul. The model enabled me to consider this portal as a 3D representation and to understand the importance of particular elements within the design concept. Once the deceased journeys through the portal they are entering the final resting place of the soul. A death mask of the souls facial features remain along with their physical body that has now become a part of the interiors.

1111

Chapter VII The Journey

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Introduction This chapter shows the development of the section of the journey the deceased will take down to reach the final resting place of the soul. It also exhibits the decomposition process of the body down through the soil. As the afterlife is located underground, I felt it was the most appropriate way of constructing the journey through the space as layers of the body will be absorbed by the soil and will remain within the structured layers of the afterlife. It also details the design process of the final section through sketching and collaging to determine the final visual.

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Sketches To construct this section I considered all the research

that of the rib cage which will add more depth to the

and design process that I had taken thus far to aid in

over design concept I have created. Once I had

the development of the final visual. I began by

decided to utilise this design structure, I began to

creating simple sketches of the five layers of the

develop this into a final section that details each of

afterlife. This is when I realised that this sketch

the visuals I have created thus far. This gives the

mimicked a similar structure of the rib cage which I

viewer an overall understanding of the final design

utilised throughout my design concept. I then began

concept placed underneath the Glasgow Necropolis.

to sketch my layers into a similar shape to

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1115

Conclusion To conclude this journal, the reason I chose death as a topic to focus on this semester was to explore my curiosity with the subject and the Victoriana within the practice of interior design. Death is a universal subject

that

encompasses

many

different

professional practices; however, it is a niche topic within the practice of interior design. It has the opportunity to be further explored and developed as it has not been researched extensively within this practice. Throughout the master’s programme all of the projects I have completed have had a relationship with death. Due to the short timescale of stage three I was limited to the amount of research and concept development that I could produce. Therefore, I feel my project has not fully been explored and will require me to further my development of the subject onto PhD level.

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Bibliography 1.

Black, Jimmy, Turnbull, Michael, ‘The Glasgow Graveyard Guide’ (London: Neil Wilson Publishing, 2011)

2.

Black, Sue, ‘All that Remains’ (London: Penguin Black Swan, 2019)

3.

Black, Sue, Written in Bone (London: Transworld publishers, 2020)

4.

Bosing, Walter, ‘Bosch; (Germany: Taschen, 2015)

5.

Burke, Edmund, ‘A philosophical Enquiry of the Sublime and Beautiful,’ (London: Oxford University Press, 2015)

6.

Comaroff, J, & Ker-Shing, O, ‘Horror in Architecture’ (USA: ORO Editions, 2018)

7.

Ebenstein, Joanna, Death: A Graveside Companion’ (London: Thames and Hudson, 2019)

8.

Fischer, Mark, ‘The Weir and the Eerie,’ (London: Repeater Publishing, 2016)

9.

House, Jack, ‘The Heart of Glasgow’ (London: Neil Wilson Publishing, 2013)

10. Meighan, Michael, ‘Glasgow: A History’ (Gloucestershire: Amberley Publishing, 2015) 11. Rutherford, Sarah, ‘The Victorian Cemetery’ (Oxford: Shire Publications, 2008) 12. Seneca, ‘On the Shortness of Life’ (London: Penguin Books Ltd, 2004) 13. Switek, Brian, Skeleton Keys: The Secret Life of Bone (London: Riverhead Books, 2019) 14. Valentine, Carla, ‘Past Mortems: Life and Death behind Mortuary Doors’ (London: Sphere, 2018) 15. Vidler, Anthony, ‘The Architectural Uncanny: Essays in the Modern Unhomely’ (USA: DEKR Corporation, 1992)

16. Foreman, Carol, ‘Glasgow Then and Now,’ (London: Pavilion Books Company Ltd, 2013) 17. Pascale, Dr, ‘Death and Resurrection in Art,’ (London: Getty Publications, 2009) 18. Maddox, Amanda and Stevenson, Sara, ‘Thomas Annan: Photographer of Glasgow,’ (London: Getty Publications, 2017) 19.

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Film and TV Sources 1.

Secrets of the Saqqara Tomb. Dir. James Trova. Land Productions, 2020 (Netflix)

2.

Britain’s Biggest Dig. Dir. Tom McCarthy. Lion Television, 2020 (BBC Two)

3.

Surviving Death. Dir. Ricki Stern. Netlfix, 2021 (Netflix)

4.

Harry Potter and the Deathly Hallows: Part 2. Dir. David Yates. Warner Bros. Pictures, 2010, (Warner Bros. DVD)

5.

Dr Strange, Dir. Scott Derrickson, Marvel Entertainment, 2016 (Disney Plus)

6.

Flatliners. Dir. Niels Arden Oplev, Columbia Pictures, 2017 (Netflix)

Websites 1.

Unknown, URL: https://www.bbc.co.uk/bitesize/guides/zn6ncdm/revision/3 (06/06/2021)

2.

Unknown, ‘Memento Mori’ Tate website. URL: https://www.tate.org.uk/art/art-terms/m/memento-mori. (01/06/21)

3.

Susan Mansfield, ‘Interview: Ken Currie on ‘the terror’ of mortality,’ URL: https://www.scotsman.com/arts-and-culture/interview-ken-currie-terror-mortality1567222. (20/06/21)

4.

Marc Quinn, Self, URL: http://marcquinn.com/artworks/self (20/06/21)

5.

Unknown, ‘death: the human experience’, URL: https://exhibitions.bristolmuseums.org.uk/death/. (20/06/21)

6.

Unknown, Paris Catacombs, URL: https://www.catacombes.paris.fr/en (20/06/21)

7.

Dylan, ‘Portugal’s Chapel of Bones,’ URL: https://www.atlasobscura.com/places/portugals-chapel-bones. (20/06/21)