pics from final crits

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Palenque-Situation Room Site map

Overall view of landscape and constructions.
Topography shown through the use of charcoal, ink wash, the method of scoring and folding watercolor, and a structural rib system
The Intervention, which is a situation room located underground.
Closer look at the Palace.
Closer look at the Temple of Inscriptions.

Closer look at the Temple of Inscriptions, the Palace, and the intervention.

Plan view of site map.

Palenque-Situation Room

The “City” Project was originally initiated through the presentation of a site, in our case, Palenque, Mexico. Specifically two constructions were chosen on this site, the Temple of Inscriptions and the Palace. Without knowing the direct correlation between these two and exactly why they were chosen among hundreds of other constructions, students were challenged to theorize and hypothesize their own conclusions of why these two were associated with one another not only in its original existence among the Mayans but also their existence today.

One possibility to why the Temple of Inscriptions and the Palace are linked to one another is due to their core, structural and situational similarities. First off, the structural similarities are primarily shown through the relationship between the piers of the temple and the houses of the palace. Technically, when looking at the statistics, there are seven different sectors of the palace that relate to the seven different piers of the temple. Each one of these sectors in the palace, are presented as confined spaces which can be considered both public and private. Specifically when first glancing at floor plans of these sectors, one could see how they are leniently considered to be public. All of the houses as well as the tower show to be occupiable spaces that more than one person can experience at a time (thus hinting the public space). However these spaces, with the exception of part of the tower are all confined from those located on the exterior. Therefore all of the occupants within the Palace’s interior are physically sectioned off from any activity in its exterior space.

Furthermore, though there are numerous entrances to both the temple and the palace, the main ones are situated on the northern face. This specific situation of entrances provides a sense of uniformity not only between the two constructions but also within the general site. This uniformity can primarily be shown through the sun, which was regarded as a very critical element in the Mayan culture, and its path of travel through both of the constructions.

This then leads to the situational similarities between the two. It was common in Mayan architecture that when a site was developed it would first be divided into various sections. These sections would then serve as a grid-like system in which the constructions were situated. Specifically in Palenque, it is apparent that the two largest constructions, which are conveniently placed almost perpendicular to one another (perhaps to emphasize the grid-like system) provide a point to which the western side of the site almost draw to. This type of uniformity, once zoomed into, provides us with a site within a site which is then broken off by the river. It almost seems that this uniformity from the western side of the site is almost disturbed by the river which ultimately causes the language of the site to, in a way, almost change. In other words, the Temple of Inscriptions and the Palace both present a critical role within the site of Palenque however are also able to stand alone within their own field/zone. In conclusion, it is theorized that the sheer core, structural and situational relationship between these two constructions is what truly ties them together.

After these theories were fully structured and developed, they lead to various overlaid drawings. These diagrams were a combination of the study of topography and manmade structure within the site and how they were successfully incorporated with one another and within nature. The following progression was a site plan model which presented a mixture of various types of model making. This specific model sat on a system of ribs which helped define the topography that played a direct role in this theory (situational). Also through the use of relieving and constructing volumetric spaces, the theory was yet clarified.

In addition, one of the criteria for the next pass was to incorporate an intervention within the site that served some type of purpose. The program that I had created had spawned partially from the theory and partially from the Mayan

community and arguably their greatest ruler Pakal the Great. I had taken into consideration the political status of Pakal during his time and the true power that he had encompassed. Then I took the theory to be a generator in the sense that it had tied the two structures together analytically and conceptually and now there was going to be a physical constructed connection.

While keeping in mind that Pakal was a person of power, an intervention that would sit underground seemed to make the most sense. It would provide a place where Pakal was out of the eye of the public which consequently would ensure more safety for the ruler. This underground dwelling would not only provide a literal connection between the two constructions, almost as a network system, but also provide a gathering space that served various purposes. It would be a meeting/decision making space for Pakal and his peers or possibly a bunker type construction for safety. All of these ideas finally lead to the confirming construction of the “situation/meeting room” that is located directly under the “backyard” of the Temple of Inscriptions and the Palace. This additional plaza like confined space, which has been referred to as the “backyard” provides an ideal space for some sort of decoy spaces above ground while the true intervention is situated underground out of the public eye.

Once the program of these interventions were strengthened and constructed in the site plan models, they were to be blown up at 1/8^th scale to not only emphasize the detail and purpose but to also physically link to the site model made in class. This expansion of scale also helped strengthen the original theory by showing how the same language is carried through the intervention and how core, structure and situation all play a critical role in this model.

In addition to this intervention, was to be a further constructed site model. This site model was to help pinpoint the purpose of the intervention and literally show a site within a site. Specifically concerning this intervention a step model of the ground/topography that was directly located above the intervention was created. This physically showed the characteristics of the plaza-like “backyard” of the two constructions. Also it helped site the literal edges of the two constructions in relation to the underground intervention.

While keeping the intervention in mind and imagining the experience Pakal would receive by the moves made in the model, it was evident that there had to be a third moment(in addition to the gathering space, which is shown through the situation/meeting room and the underground network, which is shown through the bunker-like tunnel). This third moment came in the form of a light vessel that physically helped funnel light into the tunnel connecting the room to the palace. This funneling of light also helped Pakal site himself while traveling through this underground corridor. Since the vessel had to be a physical structure that extruded from the Earth, it had to serve a dual purpose so the people of Palenque wouldn’t become suspicious. Therefore the extruded part of the light vessel created a shaded, resting/gathering area above ground for the public. This occupiable space perfectly ties in with the idea that the “backyard” is an implied plaza type space that is created through the negative space left by the Temple of Inscriptions and the Palace.

In conclusion, through the use of such techniques in creating both the site model and the intervention, the idea that the Temple of Inscriptions and the Palace were originally chosen due to their core, structural and situational similarities was to be strengthened.

Pakal’s path; a new structure of power

Palenque

Pakal’s path; a new structure of power

Palenque, when situated in a grid system, has its center and emphasis reflecting towards the Temple of Inscriptions and the Palace. Therefore, these two structures represent the main plaza of Palenque. In other words they are the main focus in comparison to the rest of the surrounding structures. In the past (1637), the Cartesian Coordinate Rectilinear Grid System established the foundational platform of all modern math and science. Next came Descartes with the ceiling of perception, which validated only the reality of the 3 dimensions of physical space. The coordinates of X,Y, and Z rendered the fourth dimension obsolete from our worldview This is useful today because the grid system is still used in a variety of constructions archaeologists use to locate themselves in the site of ruins such as those in Palenque. Their area of study is within a grid system, or zone of investigation. In the past Mayans used to create architectural structures with the aid of grid systems. In order to create a relation between these two structures a path or itinerary was created.

Mapping

Based on this theory a variety of grids were located in the site, around five different grids of different scales, which were organized through a 93 degrees angled datum. The location of the intervention was determined by the angle, where the main lines of each grid system created an area of convergence connecting the Temple of Inscriptions and The Palace.

Intervening

The intervention shows the relationship between the previously mentioned structures through a path that contains three different moments that work together as a whole creating an itinerary. This intervention is presented in order for it to be used in the time of the Mayans so Pakal their last ruler could move from the Temple to the Palace without having to exit the entire structure.

Three Moments

Three specific moments have being created. The beginning of the journey is inside the palace on the ground floor where there is a dark threshold in front of the stairs that take Pakal to the second level. These stairs are done as a way to resemble the Mayans’ construction and how they created different ways to connect contrasting levels of occupation. The stairs end in a very bright but private and enclosed space still contains plenty of illumination. The next moment is an open space where Pakal can receive fresh air but he has to be conscious that it is not considered safe from the rest. In contrast, the final moment is dedicated to the previous rulers and significant of Mayan history. It is a very spiritual moment for Pakal to meditate and reflect upon the past and contemplate future decisions. This corridor is almost the end of the journey, which turns into an open space where Pakal can address the masses but be protected with a sort of window. Around the corner a certain empty path is located that leads to a connection, which serves as the entrance to the Temple of Inscriptions.

Site Model Addition

In order to make the path clear and set it in the site some additional structures were created to give emphasis to the overall connection. Nine steps of the Temple of Inscriptions were made in order to give volume, and present a better relationship of occupational space than that shown with the bigger pieces of site. The general context was used only to delineate the location of our site inside Palenque.

Overall the intervention is Pakal´s path from The Palace to the Temple of Inscriptions. It is a sort of connection or bridge between them. He can appear and re-appear, there is a main public space where he can address his people and a private space created in honor of previous rulers. These small spaces are considered to be thoughtful meditation areas. This journey came from the grid line systems that were set up on the site map. They communicate a relationship with edge and ground. All intersections of lines helped give and develop a volumetric structure leading to the path. As Mayans used to define edge by instrumentation, mathematical equations or according to the sun, they also used the grid systems. This final one was not just one grid but a variety of grids all together composing the entire site and creating the form of node which was done volumetrically into my final model: Pakal’s path. The overall modulation of grid systems and construction served as a physical geometrical way to observe Pakal’s path from the palace to the temple, demonstrating how the Mayans’ calculations were tied to a cultural appreciation for beauty and symmetry.

Baptisimal theory

The water at Palenque has a generative effect on the Mayan residents, their culture, and construction. I believe there is a missing construct that frames the courtyard, which would demonstrate programming of birth and origination. I have explored the idea of inserting a matriarchal presence within the time of occupation at Palenque with a baptismal which controls the flow of the Otulum river using gated aqueducts that direct a portion of the water into a pool carved into the courtyard. The name of the site called by its inhabitants was Lakam Ha, or “big water”. The site of Palenque differed from many Mayan cities because of its abundance of water. Central to their lifestyle water served as life, indispensible and sustaining , the mundane, to flush and purify, and death, access to the afterlife through cenotes and water caves under springs. Without the abundance of water the people of Palenque could not have developed such a rich culture which included a stunning architectural repitoir.
The construct would be located to just south of the Palace, and east of the Temple of Inscriptions at Palenque. The Palace is used for administrative purposes and its program can be interpreted as a construction dedicated to life, while the Temple of Inscriptions is programmed for death, being the tomb of the ruler Pacal, the third construct in the this trinity must be programmed of birth, and origination. The entrance on the south west corner leads to a large amphitheatre style gathering space, the declining seating levels scooped into the earth which is akin to the landscape also lowers towards the north. Because of the cascading land the area from which to view is well above the baptismal alter which gives a clear and unobstructed view of the ceremony. The solar orientation of the baptismal lends itself to afternoon until early evening use as this is the ideal position of the sun shining towards the alter behind the congregation. In order to accommodate the change in the height of the river during seasons the construct is built with stairs and platforms to be able to access the water at a variety of levels so as not to effect the ritual. The aqueduct gates allow a calm and gentle pool to be created alongside the rushing river resembling a cenote.
The ceremony of baptism begins within the courtyard where the people of Palenque gather together in preparation of the ceremony, they have brought small offerings of food, and are met by the new baby and mother. The mother then leads the congregation through the entrance of the baptismal, down the staircase allowing the congregation to cascade into the seats. When the crowd is seated the baby is passed from the mother, to a priest. The Priest exits the gathering space and brings the baby down into a stairwell hidden from the public eye, anticipation builds as the priest and child walk through a long hall, only to emerge through a concealed door, suddenly, on the stage. As the priest descends the stairs towards the water, the congregation throw their small offerings of food into the pool with prayers of health and protection to the gods for the baby. It is then that the baby is washed in this blessed and fertile water. After the child has been cleansed the priest will carry them to the alter where he will wrap the baby’s forehead with boards and cloth as a sign of beauty and wealth. The alter is framed such that the priest is no longer entirely visible except for his arms which skillfully swaddle the child. At this the ceremony is over and the priest returns on the path from whence he came to return the child to it’s mother in a small room, the mother may then take the child to the congregation to be received as the newest member.

Site

At the site I wanted to show the relationship with my intervention of a baptisimal with the temple, the palace, landscape and water. I choose to show the foot print of the pre-exsisting constructs as lightly raised and the intervention as a gestural bug model.

Site plan

My site plan of Palenque is the source and the path of the light shown by an orange color. The linear system creates a bridge and an edge between the Palace and the Temple of Inscription. At the edge of the Palace and the Temple of Inscriptions where the light is not shinning is emphasize by the use of brown color.

Theory #23- Spatial relationships to the Mayan Afterlife: Final Statements

Theoretical Site Interpretation of the Palenque Ruins

The Palenque ruins are one of the many fascinating archeological sites that Mexico offers to tourists, historians, architects and others alike. Located in Chiapas, this archeological site holds many keys to understanding the mysterious and intriguing culture of the Mayas. After Palenque had been introduced to the class as the site for our next project, careful analysis of the overall site afforded students in the class an opportunity to formulate a theory for why our professor chose an even more specific site which contained the Temple of Inscriptions and the Palace of Palenque. A personal study of the site (which included researching, diagramming, and constructing a final model) produced a theory which explains how King Pakal’s construction of vessels at Palenque physically manifests the final spiritual journey taken in the afterlife as believed in the Mayan religion.

This theory developed even further after studying the Mayan religion which was an extremely important aspect in the culture. It was polytheistic and full of stories about sacrificing children, animals and other sacred objects in order to satisfy the gods. Another important part of the religion explains how the Mayas held that there were 3 distinct realms in the world. One realm consisted of the everyday, earthly life, and the other two realms were equivalent to something similar to an afterlife. These two realms had specific names; The 13 Levels of Heaven and the 9 Levels of the Underworld (also called Xibalba). Interestingly enough, these two shared a close connection to the tangible world by way of a tree which could be found in the earthly realm. This tree, the sacred Cieba tree, was believed to be rooted in Xibalba and had branches which extended upward to the 13 levels of heaven. Because of this and what we know of the Mayan religious beliefs, we can infer that moving down was considered highly sacred, as well as moving upward. In regards to the realm of the underworld, the Mayas believed that once a person of royalty died (such as King Pakal), that person would have to endure a difficult journey through the 9 levels of the underworld (Xibalba) in order to reach the final stage of rebirth. They believed that each level of the underworld was ruled by gods of death and disease who had to be defeated before the dead could journey to the next level and eventually be reborn as a god. On the other hand, even though it is certain that the Mayas did believe in the 13 levels of heaven, there is very little information on the details of what was believed to occur within these levels.

After studying the importance of religion to the Mayas, it was easy to see its relationship to the construction of the Temple of inscriptions. This connection was blatantly obvious when examining the 9 levels of the stepped pyramid of the Temple. The Palace however, did not seem to have an immediate connection. This first impression quickly changed after close examination of the spaces within the structures, and not their actual construction. It seemed that certain spaces had noticeably similar characteristics in the way that they were arranged, organized and contained. For instance, the outer perimeter of the Palace consists mostly of public spaces which move upward in order to bring occupants further into the structure. As the occupant moves inwardly through the construct, space becomes increasingly more private and compact with a change in scale and the utilization of narrow walls (created by corbelled vault construction). Concurrently, distinctive spaces (such as the tower) gain a gradual upward movement while others (the subterranean tunnels) gain downward movement which is related to the religious significance of moving upward and downward between the 13 levels of heaven and the 9 levels of the underworld from the earthly realm.

Another example of this spatial arrangement happens within the Temple of Inscriptions. Although the building appears to be an impenetrable fortress, the spaces within are organized in a similar fashion. Though the spaces are seemingly less complex in comparison to the Palace, the same architectural language is used. The entrance to the

Temple involves an arduous climb up an exterior stairway which finally leads the occupant to a small, semi-public covered space situated at the top. A small opening in the floor of the space leads the occupant down a staircase which becomes narrower as it descends. Eventually the passageway leads to the smallest, deepest space within the Temple of Inscriptions- Pakal’s tomb. Thus, these organizational systems create complex layers and nested spaces that can be similarly identified in the journey taken to get to the Mayan afterlife.

After finally realizing the relationship between the tangibility of Pakal’s construction and the conceptualization of the Mayan religion, a diagrammatic drawing based on the site of Palenque was created. Initially, only the interior spaces of the Temple and Palace were drawn, as well as the surrounding structures in order to show the context of the two important buildings. The 2-dimensional drawing seemed somewhat disjointed, similar to what an archeologist might find within an excavated dig site; however, it accurately portrayed the important spaces which founded the theory of construction related to an afterlife.

Soon after the completion of the drawing, volume was established in both structures by cutting out the figural representations and extruding them upwards or downwards at different levels. The intricacies of the spaces within the Palace were compared to the simplicity of the spaces within the Temple by physically cutting and removing voids that were present in the original drawing. Specifically, the subterranean tunnels were placed at the lowest level in the Palace while Pakal’s tomb also shared a place at that same level. The tower on the other hand, secured the highest position within the Palace while the semi-public room situated at the top of the Temple of Inscriptions was situated at an even higher level.

Finally, this diagrammatic drawing combined with the previously researched information allowed for the construction of an individual model. This model would be placed within a larger site model that had been constructed by the entire class shortly after the assignment of Palenque as our site. The final model called for an architectural program, which was created by each student in respect to their individual theory. This enabled each student to build according to his or her chosen program. Since the personal theory dealt mainly with the religion of the Mayas, a program dealing with their religious rituals seemed fitting. In further investigation of the religious rituals, it is understood that a vessel chant was used to bless sacred god pots that were used to sacrifice food and other substances to the gods of the Mayas. For this reason, the Palace of Palenque would become a structure for storing and blessing these pots. As an occupant moves from the outside of the Palace to the interior spaces, the storage spaces for the pots, as well as the pots themselves, become more meaningful. For instance, an outer wall shaded by an overhead condition provides cubby-like spaces to hold burial urns (shown to the left) which have just been created by the Mayan artists. These pots have not yet been blessed, which is motivation for the occupant to carry the pots inside the Palace in order to perform the vessel chant in a privately sanctioned blessing room. After doing so, the urns would then possess sacred qualities and be prepared for burial in the tomb with King Pakal. Another storage area located underneath a small staircase is intended to hold larger, incense burning pots. (shown below.) These pots were often used when Mayans offered sacrifices up to the gods. They would then be carried to the top of the Tower balcony where one would perform yet another chant to bless and sacrifice gifts to the gods in order to keep them satisfied. It is noteworthy, however, that this ritual is separate from the blessing of the burial urns. Once all of the necessary pots for burial were blessed, they would then be transported to the Temple of Inscriptions. An underground tunnel leading from the Palace to the Temple would allow for this one-time transportation in order for the burial of these pots in the tomb alongside King Pakal.

This sacred burial ritual of these pots and urns in the tomb is deemed necessary in order to accompany King Pakal in his journey through the 9 Levels of the Underworld to help him defeat the gods of death and disease so that he can be reborn again.

Diagram of tomb construction showing the small, compact space within it (click to zoom in)

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.

Theory # 6: Mass and Void watercolor relief model and intervention.

The mountains hugging the central
void creating a volume in between.


Overall the water color relief model was designed to enhance the idea of mass being private power of the theocracy and the void being the people. For the water color relief model the mass and void relationship was created by popping up the surrounding context to form an impenadrable mass that pushes and volumizing the void found within the center of the site. While the Temple of Inscriptions is sunken down and collapsed to make room for the intervention.

The intervention is about a revolution. A new center for democracy is created by bulldozing the massive structure of the Temple of Inscriptions leaving only the original passageway to the ruler Pacal 's tomb (or void). This temple is a skeleton where before the inner workings of the government were hidden but are now exposed. A person enters the temple in a closed off individual experience with no reference to the tomb of Pacal. As a person moves up through the temple they come to meet and discuss with more and more people. As the passageways climb up they start to fold around the tomb of Pacal while mass falls away and the structure its self becomes more and more exposed accumulating in a completely free and open platform on the top.
The layered passageways of the intervention.

Site Map

The Palace

the Temple

a close up of the edges

The site map as a whole

This Is You Making a Groovy Mayan Remix

Pakal wants you to make the crowd peak. Match beats, count measures, cross-fade, put the platos in phase... Encontras vuestros tocadiscos... Grabas un disco!

Baptismal Intervention

As I have researched the effect of water on the Mayan culture at the site of Palenque, I would like to pose an intervention which I believe is nessicary to the development of the site.



A third construct which participates in creating an enclosed courtyard and directs the flow of the river into a calm pool in the courtyard. This construct serves as a baptisimal.

Grid System -Centralization Theory # 9

A closer look to the intervention in our site of Palenque.
The new develop path for Pakal to move from the Temple to the Palace.
Entire site.
The intervention, is a path.

Theory No. 7-B (Process and Growth Photos)

The entire relief model: The original 24x36 inch sized watercolor sheet was cut down due to the centrally focused nature of this theory. The watercolor paper was cut along existing topography lines.



The "inverted tower" extending below the intersection of the three main Houses; E, B, and C.



Linear elements imply spaces that may be occupied by Maya leaders for reflection and council.



The node as it appears underneath the relief model.


The Palace as it appears underneath the relief model.

Relief Model Photos

Theory of Observation of the Sun Setting Over the Temple of Inscriptions from the Palace Tower:

The path of the sunlight mimics the orientation of the constructs around the site.

The Plaza functions as access to the Palace Tower, where only royalty and priests could enter, which leads to higher spaces.

Theory #23: Relief Model Photos- Spatial Relationships to the Mayan Afterlife

Summary of Theory: My theory explains how Pakal’s construction of vessels at Palenque physically manifests the final spiritual journey taken in the afterlife as believed in the Mayan religion.

This diagram shows the layers of the 9 levels of the underworld (Xibalba), the 13 levels of heaven and the Cieba tree (or earth) which divides the two realms. (Photo from http://www.inriodulce.com/links/theninegods.html)


In studying this theory more closely, I have found that both structures designed by Pakal (The Temple of Inscriptions and The Palace) act as organizers and containers for space. For instance, the outer perimeter of the Palace consists mostly of public spaces which move upward in order to bring occupants further into the structure. As the occupant moves inwardly through the construct, space becomes increasingly more private and compact with a change in scale and the utilization of narrow walls. Concurrently, distinctive spaces (such as the tower) gain a gradual upward movement while others (the subterranean tunnels) gain downward movement.

Another example of this spatial arrangement happens within the Temple of Inscriptions. Although the building appears to be an impenetrable fortress, the spaces within are organized in a similar fashion. Though the spaces are seemingly less complex in comparison to the Palace, the same architectural language is used. The entrance to the Temple involves an arduous climb up an exterior stairway which finally leads the occupant to a small, semi-public covered space situated at the top. A small opening in the floor of the space leads the occupant down a staircase which becomes narrower as it descends. Eventually the passageway leads to the smallest, deepest space within the Temple of Inscriptions- Pakal’s tomb.

These organizational systems create complex layers and nested spaces that can be similarly identified in the journey taken to get to the Mayan afterlife.

In Mayan religion, it is believed that there are 9 levels of the underworld (also called Xibalba) and 13 levels of heaven. The two realms are separated by the sacred Cieba tree which is rooted in Xibalba and has branches which extend to the 13 levels of heaven. The Mayas held that once a person of royalty died (such as King Pakal), they would have to endure a difficult journey through the 9 levels of the underworld (Xibalba) in order to reach the final stage of rebirth. They believed that each level of the underworld was ruled by gods of death and disease who had to be defeated before the dead could journey to the next level and eventually be reborn as a god. Though it is certain that the Mayas did believe in the 13 levels of heaven, there is very little information on the details of what was believed to occur within these levels.


Relief model portraying my interpretive theory of Pakal's construction at Palenque


Close up of The Palace, The Temple of Inscriptions and the aqueduct at Palenque


Showing the layered spaces within The Temple of Inscriptions


Diagramming the nested complexity of space within The Palace


Layers of the Palace and upward movement of the smaller space of the Tower