Final: Exploration of Public, Individual and Group Spaces in relation to the Mayan Ruler

Hierarchy of Spaces within the Built Construction of Uxmal

Final: Itinerary Through Ceremonial Ritual

Final Presentation Layout

Final: The Process of Designing Harmonious Spaces

Architecture revolves around the topography and the environment of the location where the designs are composed. This design process shows the significance of the location and the site to every archtecture. Vitruvius mentioned in his first book of the ten books on architecture that “they [our ancestors] never began to build defensive works in a place until after they had made the liver sound and firm.” Although this statement was not written for today’s commercial and residential design and construction, the theories behind the processes of locating a healthy site are still being practiced today.

The inspiration for this program revolved from not only Vitruvius' ten book on architecture, but also Plato's treatise. Plato mentioned that "sometime we [inhabitants] blame the noise, the air-conditioning, the fluorescent lights, the crowds, the proportions, the smell—but all of it comes down to architecture, whether the circulation of people, acoustic, out-gassing toxins, colors, spatial aesthetics or construction details.” As such, the design of this intervention considered the significance of these issues, such as the lights, moisture, wind, and even the sounds that could penetrate into the interior of the edifice since each of the element would affect the clients' experiences.

Each of the programs and circulations from the design interacts and responds to the natural elements, and works with one another as one main system, the harmonic system of architecture. The intention of this design is to create a balance of spaces, functional programs and rhythmic circulations that interact and respond to the topography and the climatic conditions of the environment. The final result should deliver a positive result to the clients' body and soul.

Final Layout

Uxmal: Site's Influence on Layered Constructions

Final: Integration of Construction and Topographical Influence: Spatial Development Through Narrative and Edge

Final Layout:

Final: Integration of Construction and Topographical Influence: Spatial Development Through Narrative and Edge

Final Images:

Diagrammatic Edge of the South Temple

This diagrammatic edge shows the rising elevations and growing dimensions of the superimposed, layered constructions of Uxmal. Each new layering of structure completely envelopes the one below, creating an entirely new set of spaces. The diagrammatic edge extends and branches out from the South Temple to show its skewed alignments with the surrounding constructions.

Client and Program: Itenerary through a Ceremonial Ritual

Client: Worker/Craftsman
They have an intimate relationship with the artifact. They shape, mold, and chip away at its surface to give it shape, life.

Client: Priest(s)
These clients interact with the craftsman to assure that quality work is done, and that all prerequisites are met before, during and after construction of the ceremonial piece.

Conclusion after much speculation based off of readings, research and Mayan wall paintings:

I've speculated that the Maya would not simply just create an artifact for tribute to the gods and just bury it without much thought, celebration, or without having some kind of formal ritual or procession. With this in mind I think the king would have probably ordered the best craftsman in the village, or tribe and ask him to create tribute worthy of the gods. The bringing about of this act would probably be caused because of a drought, thus affecting the health, wealth and power of the village's people. By offering tribute the Mayans sought to appease the gods, and in return end the drought or sickness even that may have been plaguing their people. during the creation of the tribute I've speculated that priests, or maybe even the king himself, would pay the craftsmen a visit to insure that everything was going according to their plan. Upon finishing the ceremonial piece, I believe that the kind would have held a formal procession, or event, maybe even a celebration, in order to send the artifact down to the gods in hopes of appeasing them.

Client and Program: Edge of Spaces for Celebration and Reflection

The Mayan calendar was utilized for many purposes in ancient times. Several of these purposes revolved around various celebrations and times of reflection based on the Mayan calendar: births, deaths, religious ceremonies, cultural achievements, the end of a Long Count cycle (52 years), etc. These events allowed for a significant gathering of people, but based on their purpose they would likely congregate differently. The range of the types of people that would amass at a location containing the Mayan calendar varied and could include commoners to elite as well as priests or spiritual leaders who would aid in celebration and reflection.

In general the calendar was a universal tool to organize time as well as predict the future holidays of a specific cycle. The calendar was such an important artifact in Mayan culture because of the belief that the gods granted the Mayans life 52 years at a time (the length of the Long Count cycle) and that this 52 years must be earned. Anxiety was a common sentiment nearing the end of each Long Count cycle and groups would gather to present offerings and then celebrate once they were inevitably granted longer lives. This affected every civilian regardless of social standing and they would likely feel the need to be connected to the calendar especially at this specific celebration. Large interior spaces and the massive size of the calendar allow for the general observance or exhibition of the calendar (roughly 12 feet in diameter, 3 feet thick) as well as movement throughout the space and differing perspective views of the calendar itself.

It is believed that the calendar could also be used to predict birth energies of an individual, along with divination to determine individual destinies. This would likely be performed by a spiritual healer and occur in a smaller setting where families or friends of an individual would be involved. The scale of such a space allows for intimacy within a group, therefore connecting the participants on many levels in such an activity.

Finally, on a much more personal note, the Mayan calendar was used "as a spiritual device that enables a greater understanding of the evolution of consciousness" and allowing one to "align [themselves] with this cosmic evolution toward Enlightenment." This type of reflection is clearly a very personal experience that allows an individual to feel connected and enlightened at the same time. In a smaller, more secluded space, this reflection could be possible and important for the spiritual and sometimes religious development of a Mayan civilian.

The calendar was used mainly as a tool to determine any date in the future or in the past. The system of telling time that the Mayans invented combined a few different cycles that overlapped to create the overall calendar system. This shows that the combination of things that have one main purpose in common - for instance, to tell time - could be applied to the construction of a space as well. My space contains three separate zones of different scales, but they are all tied into the important and awe-inspiring Mayan calendar. Much like the purposes of the calendar, the purposes of the room may differ but still have a strong connection and therefore allow for movement, exploration, and contemplation throughout the different spaces.

Spaces designed for the Mayan Ruler

The scepter of God K'awiil was only to be used by the Mayan ruler. Differing spaces can be associated with the client and the scepter.
A public gathering space is created for ceremonial ritual dances. The ruler would be at the highest point overlooking his community. He conjures gods to join in on the festivities. The group of elites surround the open space closest to the dancers, while the common people crowd around the edges. The space is vast and hierarchy is represented through multiple levels of space.
A group space is assigned to the client and his immediate family. The royal family, the priest, and the best artisans would gather to prepare before the ceremonies commence. They would celebrate by feasting in an open, smaller space suitable for several people.
The individual space is designed specifically for the ruler. It is a room composed of multiple small spaces to allow the ruler to prepare for his duties in the upcoming ceremony and speak with the gods. His wardrobe would be assembled and he would dress in one of the spaces, with the scepter awaiting his power to take hold.

The Mayan Priesthood

The priesthood in its entirety was the keeper of knowledge concerning the deities and the cult. They had an extensive education of the calendars, astrology, divination, and prophecy. Because of their ability to interpret the heavens and the calendar, they had control of the populace’s daily activities. They knew when to plant and harvest, when to expect the dry or rainy season, etc. Their understanding of time, seasons, and cycles was immense. This intervention has created spaces for the priests and their daily activities in the Mayan society. The front, open public space and platform is for the Mayan rituals. Priests schedule these rituals and sacrifices according to alignments of the calendars and their history. These ceremonies were public events for the Mayan residents to observe the priesthood presenting but not necessarily participate in. The priests who performed the sacrifices (called “ah nakom”) were on the bottom of the priesthood hierarchy. They led the captive from a chamber below and to the calendar on the platform to do the dirty work. This public space is also where the town priest (called “ah k’in”) would announce their prophecy and instruction to the public. Following the platform around the side, you’re led to the first interior, private space for the priesthood. This room is a place for gathering and meeting. Each priest had his own role, and it’s in this space that they were able to collaborate with one another and their studies. This is where the oracle priest (called “chilan”) would inform the town priest on his predictions, to direct the town priest toward his next public instruction. This is also a place of teaching and learning. The high priest of the region (called “ahua cari mai”) taught the novices how to read and interpret the calendar and how to write in Mayan script. The following room is a place for the priests’ writings. Knowing their history heavily influenced the priests and their prophecy, for the Maya believed if you understand the cycles of the past, you can understand the cycles of today and of tomorrow. The high priests recorded their history in Mayan script for the next generations to study and learn from. This second private space serves as the home for these writings and a space from studying them. When exiting these internal spaces, you’re led to an enclosed corridor that opens up into another open platform in the rear of the intervention. This is a private space for the priests to study the heavens. The Maya are famous for their intensive study of astrology; it is how they developed their accurate, advanced calendars. The priests are able to observe and chart the movement of the planets in their private, rear, exterior space.

Spaces of Healing

The Mayan Flask was used in Mayan culture to hold various healing potions. There are three different clients associated with the flask that all require different spaces.

The first client is the Mayan Priest, called the h-men. He performs his healing in front of everyone to demonstrate the power of the gods and to cause the Mayan subjects to fear their chosen leaders. His healing was not for the purpose of healing, but rather for a power play. This kind of ceremonial healing demonstration requires a presentational space. Perhaps it is on the steps of the Governor's Palace facing hundreds of eager eyes on the grand platform. The space of this performance is open, yet there is a particular area that the view is directed towards.

The second client is the dza-dzac, a medicine man. He uses the flask to truly heal his patients and thus he does not need a large audience. His individual space focuses on the healing experience as a sacred profession, not a spectacle. There is a specific filtration of light coming through this space to create an intimate ambiance so that the patient feels comfortable. This space does not lead to another space because it is the desired goal, true healing. He uses the flask to hold medicines made from the earth and in this space it requires no other housing than just a spot on the shelf where it can eaisly be used again.

The third client is the pulyah, witch doctor. He is very powerful and feared. It is not only the people who fear his dark powers, but also those in authority who have the most to lose if he were to rise up. Thus he must continue his practices underground and away from those who would shut him down. His use of the flask is like the Priest in that it produces shock and awe, but he also uses it to entertain a small group. The flasks holding hallucinogens were most likely in his possession and in the small underground rooms of Uxmal, he would do demonstrations for friends, family, or merely the curious superstitious citizens.

Toltec Captive Narrative (Part 2)

The slowly rising hills support a constructed system that influences and forms to the conditions. As the Mayans constructed their own landscapes, mountainous structures rise along that skyline, while platforms elevate articulated constructions. Valleys and plateaus are utilized to their potential for living and structure organization. The system of constructions and voids insinuate functionality and detail describes the culture of inhabitants.
The insight provided from detail is potent with ideas needed to construct a society. Preserved in a presumed sacrificial well, a fabric remnant was discovered. Due to the fragile nature of such a material, it is very rare to find such an artifact. It is a cotton piece, woven, brocaded, dyed. It is an irregular piece, frayed. However the brocaded pattern is still dense with fibers. The pattern illustrates a fraction of the pattern that originally existed across the whole clothing piece at one time.
The fabric piece will complete a larger garment. It will wrap itself gracefully and structurally around the client. My client is a Toltec warrior captured by the Uxmal military. The garment that my fabric remnant came from was given to the Toltec in preparation for the sacrifice. The Toltec is kept in a holding chamber at first. Here he reflects his last moments in this world. The fabric he wears was the last experience he had with Earth. When the hour came for the sacrifice the captive would be lead out of the cell and into a larger room where the king and five high priests of the priest counsel would pray that the sacrifice be accepted by the god Chac for rain to bring a bountiful harvest in the recent famine. In procession the Toltec is escorted by warriors as the priests follow. The group follows along the edge of the Great Platform and down into the central valley where the sacrificial well awaits the Toltec and the elite and citizens alike come to view the hopeful change of their fortune.

Program: Journey through space to life or death

The Mayan Ballcourt marker creates an atmosphere for the elite. It is an atmosphere in where the winners thrive in victory and the losers submit themselves to ritual sacrifice. The client for whom this space is created is a victorious and glorified ball player. He is among the elite but is revered by even the other elite to a state of near godliness.

In preparation for the game of life or death, he passes through a series of spaces that not only create an environment that aids in his preparation, but also that preserve the stateliness of his being. He is a part of society, but only in physical being and never truly can be an average citizen.

The first place that the player inhabits is an intimate space where he prepares to take on his opponent. It is also a place where he contemplates the possibility of losing and self sacrifice. Being the glorified ball player, he also has a responsibility to his teammates to keep up their morale and inspire them with his experience and confidence. It is a small space in which he feels the presence of himself and the task that lies ahead. The next place that the ball player occupies is a place for he and his teammates. He meets with his team in preparation for the game and to discuss tactics and perhaps 'pray' to the gods to grant them the ability to perform. While this meeting place exists as a gathering space, it remains an intimate place of bonding among teammates and anxiety over what is to come before exiting out into the main arena where the struggle and the expecting crowd awaits him. When he exits the gathering space and enters the arena where he is immediately under the pressure of the game. It is where the winner is decided and the loser is sacrificed. This is a public space where the people can view the game from their seats and cheer them on. The ballcourt marker divides this space in half, yet also acts as a seam that joins winner and loser in an ongoing struggle to the death.

Programs and Space Adjacencies

The Mayan weapons contain very symbolic meanings, including a well-define shape and form to serve its functions. This particular carved stone weapon passed through three process and related to three different group of people. First was the craftsman and the maker of this particular weapon. The artifacts reveal that the craftsman must studied and had a clear understanding of the religion, since these weapons are not only for the military but also held many symbolism for ceremony purposes.

The main purpose for the carved stone weapons were still mainly for the warriors who protected the elites and Uxmal. These weapons were intended for protecting their fundamental ground, bring their beliefs to battles, and protect the important their sovereign.

Program: Marketplace

Mayan agriculture relied heavily on the seasonal cycles within their region for harvest. The Maize God was revered in his powers for providing the reason for harvest and his own life cycle symbolizing the changes from fall to winter. In addition, the storage of their crops played an essential part to how they activated their own profits as well as public gathering, for the more harvest there was, the more people would buy and at times the more there would be for storage. And much like the harvest they fostered, the farmers would set up shop and within days have it disassembled to begin another year of cultivation.

The client in regards to such a place would hold the position of a rural farmer within the city of Uxmal. He would need to be allocated within a space that can provide for large groups as well a local scale of commerce. His space for commerce would be subdivided into aisles or nitches that could hold smaller groups that were in search of specific fruits or items. The pathway within the said space is cyclical in order to ease flow throughout the space. Light and sound play a direct correlation into this portion of the intervention, as light guides the time and hours of operation for the market and sound acts as a catalyst for commerce and informs the aisles of forthcoming density and space.

A gathering space is also essential for the client because there needs to be somewhat of a plaza for the villagers to occupy besides the market. The space is fitted for large groups of occupants and holds to the idea of an adjacency to the market as well as a program that provides multiple axes of directionality. Those that gather in this plaza of sorts are in a shift from ground to a man made construct signifying a change in significance, much like many other Mayan constructs. The gathering space would also house niches for those who are enveloped to sit and socialize. The space is then converted to a promenade, where the plaza informs the adjacent areas and acts as a transportation system in itself.

Beneath the gathering space would be compartments drastically smaller in scale for the farmers to store their crops. The spaces are shallow and lengthy in order to store many crops in a confined space to avoid spoiling and utilize space that is necessary. The space also intersects with the market throw the main threshold as to provide an accessible entry for storage.

These 3 scales of space work together to create an atmosphere that one can barder through commerce as well as gather. However, there is a particular piece within the structure that provides a different form of significance to the intervention. Many times, the farmers had to provide some form of payment to higher officials such as the royals or high priests. A top of the market there would be a space for such a transaction to occur. The space creates a path from the Governors Palace to the market for the farmers to perform the ritual of transaction as form of pay for setting up the market in the space provided on the great platform. the Space adds to the hierarchical set of the market and is isolated from the gathering spaces to bring a disruption to the itinerary of the overal intervention.

Program: Activating Artifact with Client

Two kinds of clients engage in the situations that surround the use of the drum. One is the actual musician, who creates the beat physically with the drum, and the other is the deceased client, in which is believed to make use of the drum symbolically.

The burial ceremony is the event that harnesses the majority of individuals, taking place in a space that can serve the public. Attendees include musicians, dancers, other elites, family and friends of the deceased, and other villagers. The beat of the drum contributes to the sound of the celebration. The ceremony then transitions into the burial of the dead one. Those who gather for this task are present within the actual burial chamber, situated below the open gathering space. Family and close friends are present here, along with a priest and possibly the king/elites depending on who has died. The drum is left inside the chamber, stored with the spiritual intent of helping the dead one walk the right path in the afterlife. The chamber is then sealed and only the imagined space of the spiritual inhabiter is left in the minds of those who continue the journey of physical life.

Client and Program: Crafting an Artifact

Mayan Royals, or ahaws, spent many years planning and preparing their own extravagant burials. A temple worshipping the deceased Royal was traditionally constructed directly atop the burial chamber. Submerged into the earth, burial chambers housed artifacts including ceramic pottery and ceremonial instruments. Perhaps the most carefully crafted of these artifacts is the jade mask adorning and overlaying the Royal face.
Intricate details on Mayan jade burial masks were created over hundreds of laborious hours. A talented craftsman carefully constructed this artificial skin imported from Mayan lowlands. Oftentimes, Mayan highlanders negotiated trades using jaguar pelts, tropical bird feathers, oils, drugs, spices, and cacao.

Thus, the client is conceivably the most crucial participant of this process: the craftsman. Across vast spatial expanses and through careful negotiation, the craftsman obtains jade. This jade is brought into a moderately-sized workspace; secluded, the individual craftsman constructs the mask. Following a Royal's death, the craftsman sees his creation to it's final destination: the claustrophobic burial chamber space.

Initially, the craftsman must interact with innumerous other Mexican inhabitants--travelers, neighboring villagers and merchants. He travels, talks, interacts, barters, travels... He returns to solitude, creating. Eventually his talent so highly valued by the ordinary Mayan manifests itself fully in a creation: the mask. He joins priests and Royal family members in a cramped space plunged into the earth. All are beholding objects of their affection for the last time before the space is sealed: the king and the mask.

Relationships Between Public, Group, and Solitary Spaces

The location of the public space is focused on the edge where the two main vertical and horizontal spatial grounds intersect. This intersection is located at the southeast corner of the nunnery quadrangle. It is at this corner that the main public gathering space is located. From the public space there is a transition into the smaller group space. Because the location of the group space is in a tomb, I envision that the space would be transitioned by a a set of stairs and a small threshold into a smaller scale enclosed space. The occupants (spiritual and earthly) of the burial tomb are all of different status in society. This would be represented spatially by separating the group space into different layers to represent the hierarchy between the spirits, king, and other occupants. To represent the transition from the burial ceremony to the solitary space signifying the spirit's journey, the path would first travel downward into a small enclosed space. This signifies the tribulations that the spirit must endure to reach the afterlife. The path would then continue upward to represent the end of the journey when the spirit finally reaches the afterlife. Within this small space the occupant would feel enveloped by the space similar to how a mask would envelop the spirit on its journey.

Spatial Situations Surrounding the Burial of a Mayan King

The artifact that I have chosen is a jade burial mask that adorned the face of a deceased Mayan ruler. Several different spatial situations can surround this mask in various different scales. All of these scales can be compiled into the funeral procession of the king; from the public space of the courtyards and pathways of the Mayan city to the more private space of the burial tomb in which the king would lay.

Client: The Ancient Mayan King of Uxmal

Spatial Situations:

-Public: The largest of all the situations is that of the actual funeral procession. In ancient Mayan times the death of ruler was mourned by all inhabitants of the city. The funeral procession would take place throughout the various pathways of the site but would focus mainly on the group space the lies along the intersection of the main vertical and horizontal axis. The procession would finally come to stop at the location of the burial site (tomb) at the intersection point of the main axis. The occupants of the public space would be the inhabitants of the city, specifically focusing on the upper class and members of the royal family. A trail of mourners would follow the procession while bystanders light candles in honor of the deceased king.

-Group: Following the funeral procession the deceased king is taken down into the actual burial chamber. The space in the actual chamber is significantly smaller than that of the public space and therefor will only hold a select group of people. The occupants of the chamber include the deceased king (obviously) and multiple spiritual beings as well as earthly beings. The king is placed in a kneeling position beside a spirit. The kings arms are crossed which to show penance. While the spiritual beings may not take up physical space, they are still a pivotal part of the burial ceremony. The purpose in the presence of the spirits is to cure the king of his final affliction which is death. The main focus of the ceremony is making sure that the king's spirit travels safely to the afterlife. The main occupants of the burial chamber at this point are the presiding king and his queen. They are responsible for the well-being of the deceased king in the afterlife. The Scribe King is the presiding figure over the ceremony. He holds a red shell that contains a small piece of jade together they represent new life emerging from the underworld. The Scribe King in this case represents what could most closely be compared to the high priest. the person responsible for conjuring up the spirits is singer, who is usually female. Accompanying the singer is her assistant ( a dwarf) who holds a conch shell and is responsible for helping her summon the spirits. The final members of the funeral party are two more dwarfs dressed as boxers who are prepared for to fight as a part of the funeral. The jade burial mask is placed on the face of the deceased king at the end of the ceremony to protect him on his journey to the next life.

-Solitary: The solitary space can be represented in two different aspects. The space can be represented by the very small space that exists between the face of the king and the mask itself. This mask is created when the king is younger and is used throughout his rule in various different ceremonies. The mask however is never adorned on the face until the time of the burial; it is always worn tied upside down around the neck. The other way that the solitary space can be represented is through the solitary journey that the spirit takes to reach the afterlife This journey is filled with many tribulations including dangerous encounters with malevolent gods of death and disease. This is why it is important for the spirit to protect itself with the jade burial mask. Finally these gods are defeated by Hunaphu and Xbalanque, the twins who resurrect their father, the Maize god. The king's final destination is realized after he finally reaches the afterlife.

Hypothesis: Mayan Warfare versus Religious Practices

The Maya civilization was well-known for their religious practices and warfare. Mayan cities, including Uxmal, were constructed accordingly to the needs of religious practices, spiritual sanctuaries, and sacred temples. Since the civilization held a strong and conventional beliefs, the ruins of Uxmal (as well as other Mayan cities) suggests that the constructions within the site were built with defensive systems for the possibility of a battle to defend their beliefs. Not only that Uxmal was once enclosed by a defensive wall systems, but also each of the programs were constructed on elevated landscape or platforms for further defenses. Moreover, in a smaller scale of the defensive systems, the threshold and the entry to any of the edifice were constructed in a very narrow and limited manner. These applications of the defensive designs also define the importance of the programs, and reveal the hierarchy among each of the edifices in Uxmal.

On the contrary, many of the Mayan artifacts suggested differently that the Mayan edifices and programs were built specifically for religious practices with less concerns for their defenses. Artifacts, including the weapons, revealed the importance of the symbolism and the meaning of the weapons. Mayans believed that their gods and spirits would being them the victory. The carved stone weapon (as shown in the diagram) “suggests a zoomorph, perhaps a snake in its long, sinuous shape;” and the simplicity of the design is also apparent. This particular artifact shows the design that is inspired by an animal and may perhaps held a certain symbolism or significance, while also provides the user with a simple design to serve its functions. However, since carved stone weapons were used both in daily life, for sacrifices and as a weapon, these purposes suggest that the edifices and the programs were designed not only to hold symbolism and imagery for their gods but also for defensive purposes and daily rituals.