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

Hierarchy of Spaces within the Built Construction of Uxmal

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.

Artifact: Mayan Scepter

The scepter of K'awiil signifies the hierarchy within Mayan culture. The scepter is to scale in the picture above, only the ruler was permitted to carry the artifact. The artifact is carved from white jade, a unique and significant material for the Mayans. The jade emphasizes the rankings within the culture, only the most official were allotted such beautiful stones, such as the rare white jade. The artifact is intricately carved on every facade, showing the physical and mental dedication put into crafting the scepter and highlighting the importance of K'awiil and the ruler holding it. The god K'awiil or God K is a pivotal Mayan deity. God K represents physical and mental fertility and functioned as a god of royal descent, promising 'innumerable generations'. God K is easily identifiable, with the flaming torch rising from his forehead and a serpent for a foot. The scepter of God K was used as a means to transcend realms and conjure the gods to partake in ritualistic dance or allow the ruler to transform into a deity. The transcendence that is taking place is not over time, but rather throughout space. The mortal ruler that is chosen by the divine, conjures God K and he emerges through smoke to participate in the ritual. The dances were mostly for everyone, but the prestigious class within Mayan society stood closest to the activities. The community would fill the vast spaces within Uxmal, gathering to watch the supernatural festivities. The dancers would also transform into supernatural beings or important animals in Mayan culture such as the snake or jaguar. Dancing was an integral part of Mayan life; the scepter was used in more ceremonial forms of dance, but the Mayans danced daily to connect themselves with the otherworldly.

Articulated Edge of the Nunnery Quadrangle (Second Iteration)

The diagrammatic edge of Uxmal's Nunnery Quadrangle is represented through my construction. The repetition of elements signify the spaces within the ruin. The extended elements show the edge's relation to the other constructions within the Nunnery Quadrangle. The utilization of micro lumber creates an emphasis on the threshold of the west facade. It is the largest entrance into the courtyard therefore it is the most detailed portion of the edge condition.

Articulated Edge of the Nunnery Quadrangle

The diagrammatic edge of Uxmal's Nunnery Quadrangle is represented through my construction. The repetition of elements signify the spaces within the ruin. The extended elements show the edge's relation to the other constructions within the Nunnery Quadrangle. The utilization of micro lumber creates an emphasis on the threshold of the west facade. It is the largest entrance into the courtyard therefore it is the most detailed portion of the edge condition.

Diagrammatic Map of the Uxmal Ruins

This is a map of the coexistence of natural land and built construction and how it informs the hierarchy of spaces within the ruin. The hilly topography of the Puuc region forms a setting for the site and requires the Mayans to construct with the landscape in mind. The topography also contributes to the spatial hierarchy found throughout the ruin. The interior spaces of the constructs are designed with varying occupants in mind. Similar to chora, the art of becoming and being, the spaces' heights are directly related to status. The higher off the ground, the closer to the gods. Mass versus void is diagrammed according to tone. The darker shades signify the overall masses created by the clusters of constructions and the white shows the open areas between. The edges define the masses within Uxmal. Even though the city wall no longer stands it forms a boundary condition for the site. The edge enclosing the masses is also not visible, but implied.

Vocabulary List

List of words to help develop ideas from the Uxmal ruins:

-Hierarchy
-Directionality
-Orientation
-Axis
-Puuc
-Cistern
-Ceremonial Spaces
-Archaeoastronomy
-Topography
-Quadrangle
-Layers
-Proportion
-Symbolism
-Contrast
-Stepped Pyramids
-Roof Combs

Theory: Directionality of the Uxmal Ruins

The Mayans believed in astrology and how it affected their way of life. They built according to this ideal in the region of Uxmal. The site has a defined directionality; all of the buildings are oriented in direct correlation to the rise of Venus. The site is angled fourteen degrees off due North. The Governor's Palace is situated fourteen degrees off the dominant angle. The intent that was put into this particular design sets Uxmal apart from the other ruins. A grid system is visible within the site, but not the typical orthogonal layout. They calculated planetary movement, a highly advanced technique and used it to shape they way they planned and designed.

Theory: Mass vs. Void

Uxmal is laid out in a way that contrasts, yet balances mass versus void. The large constructs within the ruin dominate the site, but coexist with the vast open spaces. Both are utilized to hold countless people, but they do so in completely different ways. The buildings have specific destinations for the occupant, while the open fields contain the groups for gatherings. The voids are oriented around the buildings, creating a contrast and directing the flow of the site.

Theory: Addressing the Topography of Uxmal

Uxmal is located on the Yucatan peninsula in Central America. Unlike most other Mayan sites, Uxmal is not near a body of water, making it difficult to civilize. The Mayans invented a cistern that could hold the rain water they gathered to be utilized later. There was no need for an irrigation system because they were situated in a deep, bowl-shaped basin with rich soil that survived on rainwater. The Mayans that lived in Uxmal predominantly worshiped the god of rain, Chaac, believing that he would protect their land by keeping it moist and fertile. The developed area of Uxmal is 16.5 hectacres, but Uxmal in its' entirety covers at least 10 square kilometers. The bulk of Uxmal is wide, grassy fields, but is surrounded by dense forest. Uxmal is located within the hilly, Puuc portion of the Yucatan. Instead of leveling the land, they embraced the topography and related it to the significance of the occupant. They designed their buildings to coexist with the natural landscape, making this ruin all the more unique.

Artifact

The Mayan Scepter of the god K'awiil, represented by lightning and the essence of mental and physical fertility. The intricate working of white jade on all sides, signifies the importance of this god in particular. K'awiil was an integral part of the Maize God's power, he would emerge in smoke when conjured. The scepter was used to connect the ruler and his people with the cosmos by transforming them into a deity or demi-god or conjuring gods and ancestors to participate in dances. God K is considered one of the most identifiable Maya gods, with his snaky face, serpent for a foot and flaming torch protruding from the forehead.

Theory: Spatial Hierarchy within Uxmal

The Mayan ruins of Uxmal define spatial hierarchy in terms of their religious beliefs and class system. The buildings they created have different spatial qualities that correlate to the occupants.
The Pyramid of the Magician rises to 117 feet in height. The Pyramid may only be used by the gods or the priests. The pedestal for the priest registers directly with the altar in the center courtyard. Their height reinforces their power, so that they look down upon the common Maya.
The Governor's Palace has the longest facade in all of Mayan architecture. Uxmal became a regional capital and the significance of the space for the governor was crucial. It is built on top of a hill, as opposed to leveling the land, they utilized their mountainous region of the Yucatan to signify importance. The higher an edifice, the closer they are to the gods.
The Nunnery Quadrangle is composed of 74 small spaces. They were believed to be used for children studying or military purposes. The spaces did not need to be large considering they were for the lower classes.
Directly adjacent to the Nunnery Quadrangle lies the ballcourt. A space for all to and watch a ceremonial sport. The locational relationship between sports and academia demonstrates the things that matter most to the commoners.
Massive spaces surround the entire area of Uxmal. They are intended for gatherings of every kind. It is said that at one point 20,000 or more people were living within the region of Uxmal. The gathering spaces needed to hold this vast amount of people while still creating a directionality, so that they know where they are headed.