This site is dedicated to ideas developed by Section 5268 of Course 2303, Architecture Design 3 at the University of Florida School of Architecture (http://www.dcp.ufl.edu/arch/). Students will post regularly!
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.
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 berooted 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)
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.
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.
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!
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.
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 
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.
The mountains hugging the central
The layered passageways of the intervention.
