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.

Artifact: Jade Mask

The main reason I had in choosing a mask as my artifact was because my initial impression was that a mask serves as protection. It envelops and shelters the face from harm. In addition to covering the face, a mask provides a unique ability to see the underlying structure of the face by forming to and responding to the features of the face. I found that there was an interesting correlation between the use of a mask and its relation to the face and the method of construction in Uxmal. The constructs of Uxmal respond to the ground in a way that they almost become part of the ground. The use of a mask serves a similar function but at a scale that is relative to the human face and body.

In Mayan culture, masks were used in a variety of different ways. They were used during burial ceremonies and placed on the face of the dead within their tomb, in celebratory ceremonies, and also in battle. It is unknown what the true purpose of wearing the mask into battle was, whether it was for protection, to simply intimidate the enemy or if it was to have an "ethereal effect." I find it interesting that one particular object could be used for such different purposes. The same object that could be placed on the face of a deceased ruler in a time of mourning could be used to provide entertainment in a time of joy and happiness. Just as the masks served different purposes, they also had many different likenesses. Some of the masks represented earthly beings such as animals while other masks would have the likeness of deities such as Chak, the god of rain.

The particular mask that I selected was made from several pieces of jade. The composition of this mask evokes the thought of the design method of a kit of parts. The mask is made of many different pieces of jade and other materials which separated mean nothing at all. However, when placed together, these pieces of fit together as one entity that molds to the shape and contours of the face. The composition of a construct and even a city can be thought of in a similar way. Individually, the materials used to construct a building such as wood, limestone, etc. may be systems but don't serve much use until they begin to work together. Likewise, a city is composed of many different buildings that all work together to serve the purposes of the occupants whom inhabit it.

Analysis of Geometric Topology and How It Creates Spatial Figure Grounds

The interaction between the constructs and the ground of the site create what is known as a spatial figure ground. The embedment of the constructs in the ground cause an axial figure ground to appear where the mind perceives the spaces between the constructs as mass and the actual constructs as part of the ground. In my analysis I built and edge emphasizing the southeast corner of the nunnery quadrangle. This location is important in that it lies at the intersecting of the main vertical axis and the horizontal axis. In addition to this, a smaller scale figure ground is created within the quadrangle of the nunnery. I composed the model of a number of vertical and horizontal linear elements to represent the general shape of the figure ground and the nunnery while the angular planar elements create a contrast representative of the topography of the site.

Analysis of Geometric Topology and How It Creates Spatial Figure Grounds

The interaction between the constructs and the ground of the site create what is known as a spatial figure ground. The embedment of the constructs in the ground cause an axial figure ground to appear where the mind perceives the spaces between the constructs as mass and the actual constructs as part of the ground. In my analysis I built and edge emphasizing the southeast corner of the nunnery quadrangle. This location is important in that it lies at the intersecting of the main vertical axis and the horizontal axis. In addition to this, a smaller scale figure ground is created within the quadrangle of the nunnery. I composed the model of a number of vertical and horizontal linear elements to represent the general shape of the figure ground and the nunnery while the angular planar elements create a contrast representative of the topography of the site.

Theory: Geometrical Topology

Topology is the study of spatial properties that are preserved under continuous deformation of objects. More Specifically, geometrical topology which is concerned with manifolds and how they are embedded into other manifolds. It is by this definition that I derived a thesis for my diagram.

The map of Uxmal is a diagram of a study of geometrical topology based on the interaction between ground and constructed mass and how their relation creates a spatial figure ground. Because the constructed mass of the site interacts so much with the topography, it is almost enveloped by the ground to become a part of the ground itself. This interaction creates what is known as a spacial figure ground, where the eye perceives the space between the constructions as mass and the constructed mass as part of the ground. The spatial figure ground helps to emphasize the skewed axis of 14 degrees due north that the site has. In addition to this, it better emphasizes the axis of the governor's palace which sits at a different angle from the rest of the site.

Diagram: Interaction Between Constructed Mass and Topography

Diagram: Hierarchy Among Spaces

Diagram: Exterior Space as a Figure Ground

Diagram: Geographical Location; Chultunes

Theory: Symbolism in Architecture

The city of Uxmal seems to have nothing that was built by chance. All doorways, sculptures, carvings have a symbolism or reason. Even the location and orientation of the buildings were carefully plotted out to have a correlation with the stars and the planets.

The most common figure seen throughout the site is of course that of Chaac, the Mayan god of rain. The repeated presence of this figure shows the importance of rain in this region. The lack of any nearby water supply meant that the only method of retaining water was from rain.

Theory: Pioneers in Construction

In most Mayan cities, the method of building the monumental masses was to use huge stones and layer them one on top of the other. While this was effective, the Puuc method of construction was far more advanced than other Mayan techniques.

Rather than using large stones, the inhabitants of the Puuc region of the Yucatan used rubble that was overlaid with thinner veneer stones. This method allowed for more efficiency in constructing buildings because the smaller stones were easier to transport.In addition to a higher efficiency, the fine workmanship of of the veneer stones allowed for them to be fitted together with a high amount of precision. These flat veneer stones composed the lower portions of the building that created the stark contrast to the ornamentation of the higher levels.

Information taken from: Maya Art and Architecture, Mary Ellen Miller (London: Thames and Hudson Ltd., 1999), pg 57Information taken from: Maya Art and Architecture, Mary Ellen Miller (London: Thames and Hudson Ltd. 1999), pg 61

Theory: Levels of Detail

Most Mayan ruins are not known for a high level of detail. In fact, they are most often known for the large masses from which they are built. However, Uxmal is known for quite the opposite. Although the first level of most buildings is made from flat stones, the second level is usually adorned with a ornate details not present in most other mayan ruins. The details are often representative of many different gods but often depicted to the god Chaac, the god of rain. Also the presence of the "mosaic ornament of Puuc buildings has long suggested motifs of textiles, particularly given the sorts of repeating geometric patterning that covers facades like tapestries."

Information taken from: Maya Art and Architecture, Mary Ellen Miller (London: Thames and Hudson Ltd. 1999), pg 61

Theory: Geographical Location

Uxmal was a pioneer among Mayan architecture in that they had to create man-made methods of irrigation. The site received little rainfall throughout the year and had no surface streams, lakes, or underground sinkholes to supply water. Still, this site was at one time a flourishing city and supported a larger population (about 25,000 people) then than it does today. In order to cope with this problem the Mayans devised a system of cisterns that collected rain water to to irrigate and provide the whole city with water. These systems were called chultunes.

Information found at: http://www.mayasites.com/uxmal.html and http://academic.reed.edu/uxmal/cities.html

Theory: Uxmal as a "Calculated Wangle"

A common theme among Mayan architecture is their use of astronomy for their placement of buildings. Uxmal is unique in that the entire site sits fourteen degrees off of north. This site could have been chosen as a method to help the studio better understand the "calculated wangle" and how it can be used to create relationship between two seemingly unrelated things (i.e. architecture and astronomy)

Vocabulary

1. Quadrangle- a courtyard surrounded by buildings on all four sides

2. Funerary- relating to a funeral or the commemoration of the dead

3. Karst Topography- landscape shaped by the dissolution of layers of soluble bedrock.

4. Figure Ground- a perceptual effect; key aspects of figure ground assignment, edge definition, and its affect on shape perception; space becomes the figure while figures become part of the ground

5. Corbel- any bracket esp. of brick or stone, usually of slight extent

6. Corbel Arch- a construction like an arch but composed of masonry courses corbeled until the meet

7. Corbel Vault- a structure having the form of a vault but but constructed on the principle of a corbel arch

8. Cistern- waterproof receptacle for holding liquids.

9. Sak Beh- "White Way", connected the cities together

10. Chultunes- underground resevoir used in Puuc Mayan civilizations for catching and storing water.

Theory: Exterior Space as a Figure Ground

The buildings at the site of Uxmal react so much with the actual topography that they almost become a part of the ground itself. This creates the sensation of a figure ground, or a different perception of space, where the spaces in between the buildings inform the path of the inhabitant. The particular figure ground of Uxmal has a main vertical axis that is fourteen degrees off north. The vertical axis is accompanied by a somewhat horizontal axis that separates the site into four main quadrants.

Artifact

In Mayan culture, the jade mask is often known as the death mask and is placed over the face of the deceased. The mask is a representation of the the Maize God. The mask is in many pieces but doesn't appear to broken but is rather a "whole of many parts." This could also be representative of the aspirations of the Maya to be "one with the Maize God." The idea of many parts creating a whole can be applied to the construction and layout of a city or site such as Uxmal. Separately there are many different parts to a city or site but each different part of the construct serves to form a whole city that serves all of the needs of its inhabitants. (Courtly Art of the Ancient Maya, p69)

Theory: Hierarchy Among Spaces

The site at Uxmal has not only large gathering spaces such as in the courtyard of the Nunnery Quadrangle and the Ballcourt, but has contrasting smaller spaces as well. These contrasting smaller spaces can be found within the interior facing rooms of the Nunnery Quadrangle as well as in the Adivino or the Magician's pyramid. The size of these spaces informs one as to what the function of the building was even if there is no written record. For example, no one is entirely sure as to what was the purpose of the Nunnery Quadrangle, but because the rooms within in the buildings are smaller and interior facing, it is assumed that the building was used as living quarters for either priests, soldiers, or students.

Due to the shape of the Pyramid of the Magician, the spaces inside of the temple thus needed to have hierarchy as well. You can see from the section cut that as you reach the top of the building, the rooms become increasingly smaller in scale.