Theory No. 7-C (Growth and Process-Final Statement)

The structures of the Maya grew organically, from the core outward, and from the bottom-up. At Palenque located near Chiapas, Mexico is the Palace, a complex of several connected and adjacent structures (Houses) and courtyards built over several generations on a wide artificial terrace. Three main vertical structures, Houses E, B, and C radiate out like spokes from the northern point of House E and register completely through to the bottom of the Palace. These buildings date back to the fifth century Early Classic Period and are referred to as subterraneos. The original three meter-high platform of the Palace was altered to be wider and higher. House E or Sak Nuk Naah (“White Skin House”) was the throne room, commissioned first by K'inich Janaab Pakal around 650 AD and built on the new ten meter-high base. This is the only house painted white whereas the others were painted red. The larger galleries in House E served as the halls for enthronement ceremonies. The subterranean houses may have connection to the Underworld hence thrones of deceased rulers were placed in this area. House B was for Lords to meet and discuss, and House C remained a place of memory of Palenque’s battles and defeats. In the late sixth century, a war took place between the rising Calakmul and Tikal, an accomplice of Palenque. With Tikal quickly defeated, Palenque lost a strong ally and was no match for Calakmul. In both 599 and 612 AD, Palenque suffered major defeats, losing the aristocracy completely in the latter. With the enemy defeated, it was deemed unnecessary for government coup d’état by the victor. Therefore, less than three years after this Calakmul defeat, the city’s renaissance began under Pakal.

After Houses E, B, and C were created, they were converted into subterranean passages. The "connector" Houses A-D were then added. Later, the Tower, followed by H, G, I, F, and L were constructed. The Palace was completed around 790 AD, as a result of a long series of modifications from several subsequent rulers, though the most and most grand were constructed under Pakal. This structure, the largest compound in Palenque, contains a series of stairways, passageways, sanctuaries and galleries all of importance to the Maya. The compound served as a political and administrative headquarters for influential members of Palenque as well as a place of dwelling for rulers.

In the conceptual site relief model (shown above), the Palace sits on an elevated platform that serves as a visible edge between itself and the rest of Palenque. The three main Houses, E, B, and C also sit higher than the other houses built later in the Palace. Several tones of watercolor promote the understanding of the buildings being built over time. The darkest are of the earliest houses, E, B, and C. Next are the connector houses A-D, and finally the Tower as well as H, G, I, F, and L are the lightest in tone. The three main Houses do not intersect originally, but do intersect at a central moment in this interpretation. Where the subterranean passageways may intersect underground realistically, is a node crafted of planes and micro-linear elements. These generate an inverted tower serving as a system of passages and private spaces for occupation. The map was cut down in size significantly along existing topography lines due to the centrally focused nature of this theory. A visible crosshair through the Tower and House E vertically and Houses B and C horizontally serves as a datum of alignment and progression through time.

This datum of time serves as the conceptual generator to this theory in the model. This datum runs vertically along the void between two planes in the class site model. Horizontally, the datum is present among connections between the iterations of Houses E, B, and C. This interpretation of time stands to define the way the Maya built organically over several generations as well as the cycle of war in Palenque. The spaces in Houses B and C are occupational areas generated from the roof comb constructions the Maya used to adorn the tops of structures with. They are present in Palenque above Houses B and C and contained colorful stucco stone carvings depicting Maya symbolism. The roof combs (shown below) extend down and expand beneath the overhead conditions in the Houses to create the passages below. The entrance to the intervention extends upward from the constructed site addition. The exterior perimeter of the Palace creates a voided space for the intervention to be placed.

Coming through the entrance of House C is the first area along the itinerary to occupy. This series of large spaces and corridors serve as the War Relic Galleries. Any article displaying war fought by Palenque is held in this room. The most significant would be the late sixth and early seventh century defeats of Palenque. Memorabilia such as these serve as a reminder to conflict. Defeats are recognized here; however, they are analyzed, overcome and stored for memory in this area. This may be referred to as the moment of the “fallen King.” The entrance of the intervention is at the War Relic Galleries so that the “past” may be encountered before moving into the future. Similarly, in order to exit the intervention, one must exit they same way one entered implying that the past is constantly visited in the present and future.

The next spaces for occupation sit at the same level of the War Relic Rooms, now beneath House B. It is a meeting room for Maya council and other members of importance to discuss future plans of the King including battles, development, and progress. The space is equipped with an incorporated seating area as well as storage for hieroglyphic tablets of various inscriptions. The council may refer to these tablets for inspiration or use them to reflect upon things of the past. This promotes the idea of a “rising King” who is planning his next moves for the good of the civilization with the help of his right-hand men.

The final occupiable area sits at the heart of the inverted tower below the intersection of Houses E, B, and C. Stairs lead down toward the space. This mundane area of stairs and passageways becomes a private, sacred area where the King may sit upon his throne, be enlightened by the Gods and be reminded of his divinity. A turtle shell-backed mirror (pictured above) sits in an angled compartment that faces the throne of the King. It may be removed from the holding place to be held up to the King’s face by a servant or affixed to the back of a statue depicting a captive. This enlightened King may come here to be recharged and rejuvenated by looking into this mirror in order to make insightful decisions and commands. This may be referred to as the moment of the “resurrected King.”

(Above: A "captive" statue holding a sacred mirror)

(Above: A stucco depicting Pakal looking into the divine mirror.)

This intervention serves as the connector between time, war, and Kingship. Palenque today serves as a reminder to the Maya of a civilization the encompassed greatness and sophistication for its time.