OAXACA
The University of Texas at Austin Advanced Studio, Spring 2015 Professor Benjamin Ibarra Sevilla Written by Catherine Cordeiro and Andrew Leith Design by Grace Dixon Photography by Catherine Cordeiro, Grace Dixon, Jessica Kulow, Benjamin Ibarra Sevilla, and Molly McNamara
STUDIO MEXICO
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06/ TRIP SUMMARY 08/ INTRODUCTION 10/ DAY 1 18/ DAY 2 30/ DAY 3 38/ DAY 4 46/ DAY 5 56/ DAY 6 68/ STUDIO PROFILES 70/ ACKNOWLEDGEMENTS
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DAY
ACTIVITY
LOCATION
SUNDAY, FEBRUARY 1
Travel Day, Arrival
Austin-Oaxaca
MONDAY, FEBRUARY 2
Site Visit
Monte Alban
Meeting
Instituto de Ciencias y Artes
Meeting
Instituto de Ciencias y Artes
Fieldwork: Site Visit
Instituto de Ciencias y Artes
Fieldwork: Documentation
Instituto de Ciencias y Artes
Lecture
UABJO: Facultad Arquitectura
Site Visit
Museo de la Filatelia de Oaxaca
Tour
Oaxaca City, Urban Fabric
Lecture
UABJO: Facultad Arquitectura
Fieldwork: Documentation
Oaxaca City, Urban Fabric
THURSDAY, FEBRUARY 5
Site Visit
San Juan Bautista Coixtlahuaca, Santo Domingo Yanhuitlan, San Pedro y San Pablo Teposcolula
FRIDAY, FEBRUARY 6
Lecture: Professor Rafael Vergara
UABJO: Facultad Arquitectura
Site Visit
Centro Cultural y Academica de San Pablo
Site Visit
Santo Domingo de Guzman
Departure
Oaxaca-Austin
TUESDAY, FEBRUARY 3
WEDNESDAY, FEBRUARY 4
SATURDAY, FEBRUARY 7
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OBJECTIVES Traveled most of the day to Oaxaca and finished with dinner at Bar del Jardin. Experienced a UNECSO world heritage site first hand while considering conservation, and preservation efforts necessary to maintain such a site. Introduced to our benefactors at Facultad Arquitectura, warmly welcomed, and then discussed our upcoming collaboration. Met the Director of the Law School, Mr. Reynel Vasquez. He discussed his objectives and shared a history of Instituto de Ciencias y Artes as well as its present function. Familiarized ourselves with the architecture, plan and details, both structural and aesthetic, of the Instituto de Ciencias y Artes as a cohesive whole. Worked in teams of individuals with variegated skill levels, scholarly backgrounds, and linguistic abilities to generate detailed measurements, plans, and photo-documentation of four principal quadrants of Instituto de Ciencias y Artes. We will use this data for the remainder of our studio. Learned about developments in the field of conservation of stone, masonry and concrete as well as innovations and techniques architectural materials. Explored, first hand, strategies in renovation and adaptive reuse of a historic courtyard typology structure repurposed as a museum. Reviewed Oaxacan courtyard typology structures of various iterations, ages, and styles, throughout the city centre, comparing and contrasting renovation and restoration strategies and techniques. Learned about the Centro Historico Oaxaca’s role in maintaining UNESCO protocol for the historic city centre, including issuing permits, zoning regulations, restoration guidelines, outreach, and sustainable design. Worked in teams of four to systematically measure and photo-document 12 blocks adjacent to Instituto de Ciencias y Artes in order to later generate a site plan in studio. Learned about sixteenth century architecture in Oaxaca. Evaluated and discussed current preservation efforts and strategies.
Learned about the various steps in the process to nominate Oaxaca as a World Heritage Site. Observed this case study for a multi-faceted preservation program including archaeology, restoration and contemporary intervention. Learned about the history of the Dominicans in Oaxaca and the technical aspects of brick and masonry vaulting restoration. Spent our day traveling back to Austin, TX by way of Mexico City and Dallas.
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Although it was very brief, our visit to Oaxaca introduced us to a distinct regional architectural vocabulary, grounded in millennia of history and cultural traditions. Our immersion in the city and our interpretation of the built environment was made possible by hands on experience in the field. The courtyard typology embodied broad geographical and temporal continuities: creative use of local building materials, adaptation to climate and functional needs. The courtyard as a basic structural design lends itself to the application of diverse styles, proportions and modifications with time. Each historic site that we visited served as a case study for contemporary techniques and methodologies in preservation and adaptive reuse. We came to learn that striking a balance between preservation and restoration is one of the most difficult aspects of the field. Perhaps the success of a restoration project is not contingent on the decisions made by the specialists alone but on the documentation of those decisions and the subsequent changes made to the site. Our studio project embodies many of the problems associated with the preservation of a historical structure. Rather than building a new structure in an open space, we are currently faced with the challenge of simultaneously dignifying the existing design while meeting the contemporary needs of today’s society. Ultimately, our intervention must provide continuity with the existing architecture but also be distinguishable as a product of our time and talent.
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We left our friends, partners, and homes in the wee hours of Sunday morning, rendezvousing with our classmates at Austin Bergstrom Airport eager for our adventure to begin. Each of us demonstrated varying degrees of preparedness, or excessiveness, as manifested in our fluctuating volumes of luggage. After three planes, two layovers, one dash through customs, and a full day of travel, the pink sunset over the Oaxacan mountains was indeed a welcome site. Road weary, we hefted our bags and headed for Arrivals expectantly—hoping a bus would be waiting to shepherd us to our lodging. None of us expected the outstanding welcome we were about to receive beyond the gate. We turned a corner to find a group of students and faculty representatives from the Universidad Autonoma Benito Juarez de Oaxaca Facultad Arquitectura gathered, with warm smiles and bearing a banner and flags. Several of the female students were dressed in beautiful hand woven traditional dresses with vibrant colors and designs. M. Arq. Jesus Pablo Hernandez, the dean of the architectural program introduced himself and his colleagues and welcomed us to Oaxaca quite ceremoniously. After a mutual exchange of handshakes and bilingual greetings we departed for or lodging in the heart of Oaxaca City. Transportation was provided in a comfortable touring van courtesy of our friends at Universidad Autonoma Benito Juarez de Oaxaca. As we ventured deeper into the city we encountered vibrantly colored buildings festooned in bright lights, we could hear the beat of music playing in the distance and see lively people coming and going. The mood was cheerful and excited. Professor Vergara requested that a young architectural student from UABJO act as an
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interpreter, conveying his greetings to us, upon which we all relaxed a bit and began to make an effort to share. The theme of creative communication and encounters with language barriers would come up routinely. We were all incredibly thankful that several members of our cohort spoke Spanish, some quite fluently. However even they confessed to being challenged over the next week as we occasionally interacted with individuals in small towns who themselves had unique brogues and traces of indigenous linguistic traditions. We were reminded that the fundamental tools of architecture could come to our aide. Drawing, measuring, and basic body language would be incredibly effective methods of communicating when deployed by motivated individuals. Perhaps thinking about architectural tools and methodologies in yet another iteration, as powerful communicative devices, was one of the more subtle yet valuable lessons we were to learn. Our accommodations at Hotel-Posada La Casa de la Tia were located at 5 de Mayo #108 Col. Centro, in the heart of Oaxaca. We soon discovered that we were located across the street from the Facultad Arquitectura and only two blocks away from the zocalo. The hotel was located in a quaint courtyard structure, ostensibly dating to the late 19th century. Our rooms were adjacent to the central atrium, quite well appointed and comfortable. Most were structured in the form of two-floor suites with private washrooms, two beds on the mezzanine level, and two beds on the first floor. We thus would each have our own bed and sleep three or four to a room. The atrium was
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“AT LAST WE MADE IT! WE ARE IN OAXACA — THE PLACE OF OUR DREAMS!” VISHAL JOSHI
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by far the most delightful feature of the hotel. The open courtyard was flanked by ancient looking cantera verde (green stone) columns. Lush plants and trees cascaded from the periphery and wooden tables and chairs lined the cobbles. In the week to come this oasis would provide much appreciated respite after long days in the fresh air and bright Oaxacan sun. After a long day of travel we were all quite tired, but hunger got the best of us and our stomachs led us out into the city. Professor Ibarra would come to our rescue, leading us to one of his favorite restaurants. As we passed through the streets we could not help but be drawn in by the layers of history surrounding us in proud architectural styles dating from decades to centuries past. As we approached the zocalo we were mesmerized by the festivities taking place within. The smell of baking tortillas wafted to our noses, lively music filled the air, and vendors in makeshift stalls covered the square, selling brightly colored textiles, toys and house wares. We settled in for a wonderful dinner at Bar del Jardin, filling two large tables along the covered sidewalk and listening to live marimba music. In no time the tables were covered with plates of fresh tamales, roasted peanuts, enchiladas, savory meats and rich cheeses. At the end of this long day our appetites were satiated and our spirits high. It felt good to be in Oaxaca, and even better when we all finally made our way to bed.
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Above all else, Oaxaca is known to world travelers for Monte Alban. Images of the impressive archaeological site were among the highlights of our preparatory analysis of the region. Thus, Monday morning, in the fresh air on our first day, between sips of hot coffee and fresh pan dulce, the breakfast tables were abuzz with excitement. The students in Studio Mexico were all quite eager to experience this renowned UNESCO world heritage site firsthand and compare it to what pervaded our imaginations.
pyramids), atriums, a 300 meter esplanade, and other grand formalized spaces. These structures were believed to be temples, palaces, and governmental buildings, with what was likely the religious complex occupying the southern sector of the site and the bureaucratic structures occupying the northern area. A sunken ball court, the site of the mesmerizing ‘Burial Number 7,’ a monumental solar calendar, and the breathtaking views from the steps of the southern ziggurat were among the highlights of our visit.
Monte Alban has fascinated Europeans for centuries. Today it is a great source of local and national pride. The scale of the monumental architecture and its imposing seat in the mountains west of Oaxaca city inspires wonder and awe. Equally daunting is the prospect of creating such grand structures with tools and technology that predate us by several thousand years.
The site was developed and redeveloped over the course of nearly two millennia between 800 BCE and 900 CE before its use subsided and the population diffused. So we are left with a feeling of mystery, wondering why they may have moved to such a challenging location to begin with, how they created these colossal architectural works, and why the site ultimately fell into disuse. The clear connections to astrology and its relationship to geometry as evidenced in the plan of the site and alignment of the monuments was compelling to both architects and preservationists. The grading and segregation of the spaces through the terraces, sunken atriums, and raised platforms seemed to both mirror the surrounding topography and create affectively moving spaces. The use of courtyards or atriums to separate public from private space, frame disparate practical functions and generate an emotional response may arguably constitute a continuity between ancient indigenous traditions and colonial interventions still employed today.
Our opportunity to gain a deeper understanding of the history and building program at Monte Alban is thanks in large part to our brilliant guide, Professor Rodrigo De la Torre Yarza. He offered us the perspective of nearly eighty years of archaeological and historical exploration at the site. In short, approximately 800-500 BCE the Pre-Classic Zapotecs developed into a dynamic and socially complexity community. For reasons not entirely understood today, they relocated the epicenter of their society to the apex of Monte Alban. There they embarked upon a monumental building project. They graded the plateau at the top of the mountain (1,940 m above sea level) and created colossal stone structures, including platforms, ziggurats (or stepped
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We were all curious about rather selective, (municipality-
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“THE SITE OF MONTE ALBAN INSPIRED ME THE MOST. IT WAS FASCINATING TO IMAGINE A SOCIETY THAT WAS SO DEVELOPED AND SOPHISTICATED BEFORE THE ARRIVAL OF THE SPANISH.” VISHAL JOSHI
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by-municipality based) observation of the UNESCO buffer zone. Many of us were surprised that some Oaxacan townships seemed perfectly comfortable with condoning urban sprawl encroaching upon Monte Alban and affecting the view corridor. We were left to contemplate what should be the role of the federal government as an interface between UNECSO and local government, and where is the appropriate line between community needs for housing etc, and preservation concerns for a site of outstanding universal value? None of us were capable of walking away from this experience unmoved, though we were each left with differing thoughts and impressions. The monumental scale of Monte Alban must have been designed with intent to impart awe, and it does so very much still today. The mechanics of creating such grand structures at such a daunting elevation as well as the amount of time and human capital is also quite impressive. The selective preservation interventions manifested at Monte Alban intrigued all of us and left us with a profundity of questions. We were confronted with evidence of the advanced stage of ruin much of the site was resigned to prior to reconstruction. The interventions that took place were in many cases quite dramatic and perhaps a bit more speculative than some more conservative preservationists would be comfortable with. Would the restorations at Monte Alban be regarded as ‘staged authenticity?’ If not for rather dramatic intervention, and recreation how much of the site would inevitably be lost? Is loss and
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decay bet noir in preservation, or is there a place for some degree of ruin to be appreciated? Is recreation or dramatic restoration critical with a site such as Monte Alban in order for people today to fully comprehend how profound it may have been at its apogee? Monte Alban is regarded with great pride throughout Oaxaca as a patrimonial site that connects communities today with their ancestors. How much latitude should be expected when evaluating sites associated with active patrimonial communities? How might a sensitive intervention balance the desires of patrimonial communities who favor broad steps in restoration (or re-imagination) in order to glorify their heritage with a more conservative approach that seeks to stabilize and document what exists? How should contemporary restoration dovetail with the period fabric of a structure; should it be pronounced or subtle, and what is the role of documentation in this process? At 4:30 PM Studio Mexico first met our generous benefactors, the esteemed faculty at the Facultad Arquitectura in their grand Art Nouveau conference room. We were ceremoniously introduced to the distinguished faculty, including, Professor Martinez, Cecilia Rodriguez, Mercedes Rizo, Armando Diaz, and one student representative, a young man named Diego. The representatives from Facultad Arquitectura were incredibly gracious and enthusiastic. They made us feel quite welcome. We were invited to consider documenting two buildings, the elegant art nouveaux structure in which we were presently meeting and the 1898 Instituto des Ciencias y Artes, now occupied by the law school. We were delighted to learn that both structures were under
the stewardship of Universidad Autonoma Benito Juarez de Oaxaca, both were considered monuments of historic and artistic value, and plans had been generated for both. We all walked away inspired by the faculty’s passion for Oaxaca and investment in the physical structures associated with their school. Their energy was contagious, igniting a fire of determination and excitement in all of us as we embarked upon a brief tour of the two structures. It did not take us long to set our sites upon the stunning 1898 Instituto des Ciencias y Artes. Our motivations were multifaceted. The structure had an august history, as a nationally distinguished educational facility and alma mater of both Benito Juarez and Porfirio Diaz. Benito Juarez (1806-1872) is a legendary son of Oaxaca, an accomplished lawyer, statesman, President of Mexico and father of Mexican independence. He resisted the French yoke of occupation, contributed to the creation of a constitution, and set toward engendering a liberal democracy that championed human rights. Porfirio Diaz (1830-1915) was a great general, statesman, and also a President of Mexico. He pushed back against French intervention and ruled Mexico for 35 years during a period bearing his moniker, the Porfiriato (1876-1911). Instituto de Ciencias y Artes has a compelling Beaux Arts façade and three ornamental courtyards. It is located on a prime corner in the historic city centre across from the cathedral and zocalo. A proliferation of historical and architectural materials associated with the structure are readily available, including recent AutoCAD drawings.
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The faculty is motivated to redevelop the structure in the near future. Stirring talks are under way regarding a potential museum space, renovated educational facilities, water filtration, and complete redevelopment of an extant gymnasium into an auditorium. Ultimately, the Instuto de Ciencias y Artes was captivating, offered the most options, and the best fit for the scope and interests of our studio project. That evening after a long day of explorations we were treated to a most gracious feast at the invitation of our generous hosts at Universidad Autonoma Benito Juarez de Oaxaca (UABJO). We dined together on the upper gallery of the elegant restaurant, Asador Vasco, overlooking the lively market in the zocalo. The meal commenced with formal introductions. The President of the University, LIC. Eduardo Martinez Helmes and his wife were kind enough to join us. Mr. Martinez Helmes rose to cordially welcome us and express his enthusiasm for our visit. He was joined by Director de obras y servicios universatarios, Arq. Mateo Salatiel Cruz Martinez. Our gracious guide Professor Vergara and several of his distinguished colleagues also joined us. Professor Ibarra exchanged solicitations with Mr. Martinez Helmes and the faculty and administration of UABJO, expressing our sincere gratitude for their hospitality and zeal for the upcoming project. It was rather unique for many of us to be included in such a ceremonious greeting. In the US, rarely would we be greeted with such pomp and circumstance. Analogous occasions at home often lack this degree of ceremony. Thus, this evening provided us with a glimpse at the warmth and magnanimity expressed
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in Oaxacan culture and echoed in its amazing cuisine. We were treated with numerous Oaxacan delicacies that left quite an impression. Few of us had ever partaken in chapulines, or Oaxacan mole prior to this experience. We were all quite delighted by the cuisine and honored to be so warmly received.
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After a minor misunderstanding regarding dates and times we met around 9 AM with the Director of Universidad Autonoma Benito Juarez de Oaxaca Law school, Reynel Vasquez. The meeting was held in a conference room on the first floor the Instituto de Ciencias y Artes. The room was notably festooned with paintings of former luminaries of the institution, which were likely centuries old. The countenances of these solemn individuals in monastic garb reinforced the old Benedictine adage, “Ora et labora” and inspired our best behavior. Mr. Vasquez provided us with a more detailed recent history and topography of the Instutio de Ciencias y Artes. It is one of Universidad Autonoma Benito Juarez de Oaxaca’s two current law facilities. The faculty are very proud of the structure and its proud history—and rightly so. Today the southern wing of the building houses the Law program and the northern wing of the building is largely used for graduate studies. Finally, the third courtyard is surrounded by graduate studies classrooms, and the gymnasium facilitates recreational activities and team sports. The complex was utilized entirely for the undergraduate program until 2007 when the law school and graduate program was granted the facility. Occasionally various government agencies rent rooms from the school for meetings. The educational institution known today as Instituto de Ciencias y Artes was founded circa 1821 in Oaxaca. Its inspiration and ultimate realization was a product of the Revolution of 1810. Juan Jose Canseco was instrumental in galvanizing the support of a group of liberal minded
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Spanish intellectuals. Together they founded the university in order to provide local educational opportunities and programs that represented a populist paradigm. The university was opened to the public in 1827. During its early years it was housed within the San Pablo mission. An earlier iteration of the present structure is believed to have occupied the current site of the institution. In 1898 a series of major renovations and additions took place. Much of the structure of the building as well as the decorative work, including the cast concrete balustrades, lintels, and neoclassical ornamentation is a product of that dramatic building episode. The impressive structure we are working with today is in effect the result of the extensive renovations 118 years ago. One of the most significant spaces within the building complex is the grand second floor conference room, known as El Paraninfo. It was vandalized in 2002, but since has been partially restored. Other significant spaces include the rare books library, legal research center, practice courtroom and facilities management. Mr. Vasquez invited us on a comprehensive tour of the building. We had an opportunity to peek inside his office in the southeast corner of the building. We also perused the three courtyards. Perhaps the most compelling space within the structure was the grand conference room, El Paraninfo, on the second floor of the southern wing of the building. This formal space extended the entire axis of the building and was punctuated with large south facing windows, a striking neoclassical stage, and a bold mural
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on the ceiling. The room was partially restored after severe fire damage in 2002 and the present treatments reflect this attention. As architects and preservationists we were all intrigued with these interventions. Where decorative plaster moldings were partially destroyed they were replaced with faux finished, trompe l’oeil painting. Several of the doors, light fixtures and the original floor appear to have been replaced. However, the east and west doors as well as the stage are original to the room and heavily fire damaged. We were rather curious what may have precipitated the decisions regarding which pieces would be retained and which would be replaced. While many of us were impressed with the retention of the striking fire damaged stage, as a subtle reminder of the tumultuous past, we questioned the interventions with the plasterwork. Relatively recent additions including the plywood platform extending out beyond the stage and the anchored seating were also met with critique. Finally, we were given an opportunity to climb to the roof and explore the many terraces across the top of the building. We examined damage to the stonework on the copula, treatments to the parapet and roofing materials. This vantage point also made it more convenient to envision the overall layout of the complex, and where additions may have been made over time. The views of the city and surrounding mountains were truly breathtaking and a definite highlight for all of us. After meeting in the gymnasium we divided into groups of four in order to document different sectors of the
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building, including each of the three courtyards as well as the aforementioned gymnasium. Two groups had the privilege of working with Facultad Arquitectura students, Benito and Diego. Our goals were to photo-document, measure and record interior dimensions. We planned to then use these in studio to generate architectural drawings including longitudinal and transversal sections of Instituto de Ciencias y Artes. Each space had its own distinct challenges unique features. We spent much the afternoon and early evening working together to document our respective areas. The data we recoded will be incredibly helpful as we generate drawings and then proposals for future conservation, renovation and adaptive reuse. Both the impressive details and idiosyncrasies of the space could not have been completely appreciated without this decidedly tactile experience. On Tuesday evening we were once again treated to the exceptional hospitality of Universidad Autonoma Benito Juarez de Oaxaca. The students met us and invited us to Los Danzantes, an elegant rooftop lounge near Santo Domingo. The views from the terrace and the night sky punctuated by occasional fireworks were magical. We spent a memorable evening visiting and relaxing together under the vivid Oaxacan stars with our new friends.
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“THE ADMINISTRATION AND FACULTY AT 5 DE MAYO ARE VERY PASSIONATE ABOUT THE POTENTIAL OF RESTORATION OR RENOVATION OF THEIR HISTORIC SCHOOL.” PAULA J NASTA
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We started Wednesday morning with a 9 AM lecture at the Universidad Autonoma Benito Juarez de Oaxaca. Dr. Herwing Zeth Lopez Calvo presented his cutting edge research on the conservation of stone, masonry and concrete. Dr. Lopez Calvo earned his PhD at the University of New Brunswick, in Canada. His research interests include the effects of salt-water exposure on reinforced concrete. Today great effort is being made to abate salt-water corrosion, including the development of epoxy coated rebar (ECR), Silica fume inhibitors, and silano solution surface protestants. Dr. Lopez Calvo’s testing has revealed many of these treatments strengths and weaknesses. He has also dedicated much time and effort toward the development of improvements to vernacular masonry construction in seismic regions. He has endeavored to create a more elastic adobe utilizing rubber fiber recycled from discarded automobile tires. He also experimented with various nanocoatings that have been recently used in efforts to stabilize the local green stone, cantera verde, which is a hallmark of Oaxacan architecture. In fact the stone is so iconic, the city was given the moniker, “La Verde Antequera,” in reference to its ubiquitous use in local construction. Over the last century it has become fashionable to remove stucco cladding from historic 16th through 18th century structures, exposing the stonework. Cantera verde is quite porous and has a propensity to weather poorly and to decay with time, particularly once exposed. Dr. Lopez Calvo’s objectives are to test the effectiveness of several coatings on samples of cantera verde from different mines. He hopes to determine which coatings are most effective at abating erosion as well as each coatings likelihood
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to discolor with time. The architects in our group were quite intrigued with Dr. Lopez Calvo’s reinforced concrete experiments while the preservationists, many of whom are currently in Professor Gale’s conservation methods course, were rather interested in his work with nano-coatings. Daniel Lopez is a prolific architect, who has practiced in Oaxaca for over 17 years and worked with Professor Ibarra at the University of Minnesota, facilitating the study abroad program for ten years. He graciously provided us with a tour of one of his imaginative renovations, the Museo de la Filatelia de Oaxaca (or the Stamp Museum) at Reforma 504. This creative renovation of a traditional historic courtyard structure was compelling for numerous reasons. Its function as a stamp museum was quite imaginative and whimsical. The integration of exhibition galleries, secured collections storage, open courtyards and commercial space into this one complex was however nothing less than impressive. The complex managed to retain certain historic materials and features, while blending rather fluidly into markedly contemporary interventions. The use of pale color hues, effects of light and shadow, regular interplay between interior and exterior spaces, as well as natural materials such as stained wood, and a cohesive scale united the disparate spaces and created a peaceful environment. We were all quite impressed. We left the Museo de la Filatelia de Oaxaca to explore courtyard typologies throughout the city center, and their adaptation or renovation. Over the course of the afternoon we looked at quite a few variations in design and approach
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“WHAT DISTINGUISHES THE CITY OF OAXACA FROM OTHER TRADITIONAL HISTORIC CITIES AROUND THE WORLD IS ITS RICHNESS, VIBRANCY, AND LIFE EVIDENT IN THE STREET FOOD, COLORFUL FAÇADES, AND POPULATED PLAZAS.” ANA MARCELA LOZANO GUITERREZ
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from very sensitive restorations, to bold contemporary renovations. The group was left refreshed by the diversity of approaches to this common form of vernacular architecture. Many spaces had clear design strengths or weaknesses. It was quite useful to see first hand that there is no standard format for success in preservation or adaptive reuse. The strength in these myriad approaches is the diversity they engender when experienced together in the built landscape. At 3:00 PM we met Ms. Veronica Arredondo back at Universidad Autonoma Benito Juarez de Oaxaca. Ms. Arredondo is the director of the Centro Historico de Oaxaca and a dear friend and former classmate of Professor Ibarra. Oaxaca’s Centro Historico was established in 1995, in accordance with the UNESCO master plan for the preservation and conservation of the Oaxaca city center. The sixteen professionals in the CHO office are responsible for 460 blocks that comprise this area. The office collaborates closely with INAH. They offer building permits for restoration of historic structures, guide zoning, and strive to regulate the public space in order to safeguard its historic character. Their work is challenging as they frequently experience great pushback from commercial businesses covetous of the residential real estate within
the city centre that is under the CHO’s zoning protection. Because there are no federal tax incentives for restoration it is difficult to instill a culture of sensitivity toward preservation. They hope to eventually do so by developing a more collaborative approach toward heritage stewardship, involving input from the professional community as well as education and outreach. They would also like to increase pedestrian zones and encourage residential housing in the city centre. Many of us might take the historical integrity of our neighborhoods for granted. We were reminded by Ms. Arredondo that Federal or state based civic plans and the bureaucratic organizations that execute development and zoning play a significant role in shaping our built environment, preserving our heritage, and encouraging an ethos of diversity or sustainability. Our final documentation project involved the groups of four we worked with the previous day. Together Wednesday evening each group set about documenting three blocks of the city surrounding the Instituto de Ciencias y Artes to amass data on a 12-block radius. We systematically photographed the facades, in elevation, of structures along certain streets in order to generate photo joiners. We also created estimates for the heights of these buildings. We plan to ultimately utilize this data to generate a site model.
“THE SUCCESS OF AN INTERVENTION MIGHT BE MEASURED IN ITS ABILITY TO DIGNIFY THE EXTANT HISTORICAL ARCHITECTURE.” PROFESSOR IBARRA
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“OUR VISIT TO THE CATHEDRAL IN COIXTLAHUACA AND ESPECIALLY OUR CONVERSATION WITH LUIS TAUGHT ME A GREAT DEAL ABOUT SOME OF THE CORE QUESTIONS OF CONSERVATION. HIS INSIGHTS AND OPINIONS REVEALED THE COMPLEXITY OF HISTORIC PRESERVATION AND THE IMPORTANCE OF HONORING THE COMMUNITIES TO WHICH HISTORIC BUILDINGS BELONG.” MICHAELA WRIGHT Thursday’s agenda brought our class out of the city of Oaxaca to three small rural towns in the Oaxacan countryside: San Juan Bautista Coixtlahuaca, Santo Domingo Yanhuitlan and San Pedro y San Pablo Teposcolula. This change of scenery not only provided us with a more comprehensive experience of the topography and geography of the area but also presented a more realistic view of the everyday lifestyle and surroundings of the typical resident of Oaxaca. Over the course of the day, we visited three small towns: Coixtlahuaca, Yanhuitlan and Teposcolula. In these small towns, even more so than in the historic center, the profound impact of the Spanish colonial power on the native population of Mexico was immediately felt. In each of the towns the large, imposing ecclesiastical complex was the only remarkable feature of the urban landscape. Surrounded by small, often makeshift structures and narrow, winding streets, the churches stood apart as clear evidence of the systematic machine of evangelization that was the Catholic Church. While each site showed a different
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arrangement of space, they provided a living teaching environment of the major components of sixteenth century ecclesiastical architecture in Mexico: the open chapel, the atrio [atrium], the church and the monastery. From a preservation standpoint, the recent treatment of each complex shed light on the difficult and frequently controversial decisions made by the specialists in charge. Unlike European and American historic buildings, these historic sites did not benefit from centuries of maintenance and upkeep. By the late twentieth century they were all in a state of extreme deterioration as a result not only of human neglect but also water damage, pollution and damage from centuries of earthquakes. San Juan Bautista Coixtlahuaca is currently in the process of rehabilitation and provided a great introduction to the most current preservation strategies being executed in Southern Mexico. The layout of the complex emphasized its position,
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perched atop a low flat hill surrounded by sweeping vistas of the mountainous region around it. The approach to the church is delineated by a long walkway through an allee of soaring palm trees that meets the church at its north facade. A scalloped masonry wall encloses a vast atrio, setting the sacred site apart from its secular surroundings. The Renaissance style church is set toward the back of the enclosure, allowing the atrio to serve as a gathering place to its western front and north side. Here, an open chapel opens on to the atrio. The open chapel is currently in poor condition. Much of the cylindrical masonry vault that once sprung from thick piers is completely gone and the remaining parts are need of high degree of conservation. We were treated to a detailed tour of the church by a local artisan named Luis. It was clear to see that Luis had a special personal connection to the church and was very passionate about the preservation and conservation of its original building materials and construction. While he seemed pleased that the building was finally receiving some much needed attention, he was disheartened by some of the choices made by the lead architect of the project. For example, rather than consolidating and repairing the original floors of the church, the architect has decided to simply replace them with new, machine cut masonry pavers—a project that will be completed in the next few months. Luis’ devotion and fervor for truthfulness and restraint in the restoration of the building he held so dear definitely garnered a great deal of support and sympathy from our class. He even appealed to us as the future leaders in the field of preservation to proceed cautiously
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in our careers with respect for the communities who act as stakeholders for the structures with which we engage. Before leaving, we toured the monastery of Coixtlahuaca, which was partly restored. It was particularly interesting to compare the parts which had been the subject of heavy restoration with, for example, the orchards, which were in a state of extreme disrepair but provided vital information about the original materials and methods of construction. At Santo Domingo Yanhuitlan, the same architect that had worked in Coixtlahauca’s impulse to design and create prevailed over the more anonymous mission to simply dignify the building’s historic character. This project, which reached full fruition several years ago, demonstrated a rather heavy-handed approach to restoration. As we approached Santo Domingo, the juxtaposition between the spotless, soaring towers of the elaborately-carved west facade with the humble vernacular architecture of the town was particularly jarring. In further contrast to Coixtlahuaca was the arrangement of space at Yanhuitlan. Here, the walled atrio was set almost entirely to the north side of the church and the complex lacked an open chapel. The reason for the latter was probably due to the period of construction of the church, which post-dated Coixtlahuaca. In the later decades of the sixteenth centuries, open chapels became obsolete, as church planners and builders had the resources to begin a complex immediately with construction of a large church. Although the original church and monastery at Yanhuitlan
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date to nearly five hundred years ago, the intensive restoration carried out over the entirety of the complex left it looking practically brand new. This strategy in the field of preservation is appealing to many for obvious reasons. Tourists and non-specialists generally prefer to enjoy a space “as it was,” or “restored to its former glory.” Similarly, from a local standpoint, many residents of Oaxaca and of Mexico, take pride in their country’s ability to breathe new life into historic structures that are vitally important to national and cultural identity. However, to achieve this high level of perfection, the architect in charge at Yanhuitlan chose to implement modern techniques and finishes on nearly every aspect of the structure. To many of the students, the experience of the building was too sterile and modern as if the building was a historic recreation rather than a restored original. Monastery, the position of the atrio in relationship to Coixtlahuaca. The final town we visited was Teposcolula. Though we did not have time to visit the church, the open chapel and vast atrio in glow of the late afternoon sun were certainly a site to see. Like Yanhuitlan and Coixtlahuaca, the atrio was walled off from its surroundings, but here in Teposcolula it sat on a continuous flat plain at the center of the fabric of the small town rather than being raised and set geographically apart. Teposcolulua was also made distinct by the emphasis on the open space of the atrio, through which one must walk from the entrance gate to the monastery complex and church at the far side. Many of the students fondly remember this visit as their
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favorite of the day. The fully restored open chapel, with its intricate tracery vaulting had only a few decades earlier, lay in a heap of ruins. The consensus among the students was that this was an instance where a careful but full restoration was the only answer. We were fortunate to have Benjamin with us, as he recounted his hands-on experience reassembling and restoring the complicated vaulting system. It was very impressive to discover the high level of geometry and mathematics necessary to design the vaults and also the precision of stonecutting necessary to construct them. From the massive buttresses to the fine carving of each voussoir, it was clear that the project was carried out with a high degree of sensitivity with authenticity as the primary goal. We also visited La Casa de la Cacica, a sixteenth century Mixtec palace nearby the monastery complex in Teposcolula. This site not only combined Mixtec carving techniques and spatial planning with Spanish colonial architectural design, but also served as a case study for preservation. The main building, which is also the most elaborate is fitted on the outside with shaped stone openings and banded at the roof level by ornamental disk friezes, signifying an elite residence in Mixtec tradition. The interior of this building has recently been converted into a local library. Many of the original wall finishes and details have been preserved and a majority of the students were in favor of the simple contemporary intervention that resulted in an aesthetically positive and functional space for the community.
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Friday, our last full day in Oaxaca, was packed with intriguing lectures and site visits with some of the world experts on the architecture of Oaxaca. Our first lecture, given by Professor Rafael Vergara at the Cinco de Mayo School of Architecture of the University of Oaxaca, detailed the various stages in the process to nominate Oaxaca as a World Heritage Site, for which he was very involved. Next, we met with Sebastian Van Doesburg at the Cultural Center of San Pablo. Unlike many of the other spaces we had seen, San Pablo was conceived thanks to significant private financial support from the Fundacion Alfredo Harp Helu. The large budget was not only readily apparent but also well spent in the opinion of many of us. The project began by gradually acquiring the lands that were formerly the monastery and uncovering any original architectural features. The importance of archaeological excavation and exploration to the project was particularly fascinating. The director of archaeology for the project, Agustin Andrade, gave us an insider’s peak into excavations deep below the floor of part of the complex, stretching back centuries. Seeing the archaeologists at work uncovering fragmented walls, pottery and other artifacts highlighted the academic and documentary nature of the project. The finished portions of San Pablo, particularly the courtyard and the open space in front of the church, featured dynamic contemporary interventions with designs by famed Mexican architect, Mauricio Rocha. It was interesting to hear that Oaxacans generally dislike these stark contemporary structures. To us, they were not only brilliant from a design perspective, but also succeeded in clearly delineating
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original and contemporary space. Additionally, aside from necessary structural connections, they were almost completely reversible. The last historic site we visited was the monastery of Santo Domingo de Guzman, one of the most prominent landmarks of the city of Oaxaca. Unlike the churches in the countryside of Oaxaca, Santo Domingo is very much a part of the dense urban fabric of the city of Oaxaca. Here, the atrio has all but disappeared and the monastery complex is much larger. As the seat of the bishop for the surrounding area of San Hippolito Martir, Santo Domingo was planned to make a clear statement of Dominican power and influence. This is reflected in the size and organization of the complex as well as the extensive luxurious decorative program that runs through the church and monastery. While admiring the primary facade of the church, we were treated to a delightful short lecture by one of students, the dazzling Catherine V. Cordeiro. Cordeiro’s talk covered the history of the Dominican order in Oaxaca, the erection of the monastery, its many functions over time and the restoration project that was carried out in the early years of the twenty-first century. We then toured the space with Professor Ibarra, who had participated in the restoration project in his early years as a preservationist. While many of the students were aware of Professor Ibarra’s work at Santo Domingo, it was very exciting to experience the space with him and hear about his work on the reconstruction of the brick vaults using sixteenth century techniques. Though not as blatant as at Yanhuitlan, many of the students felt
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“I THOUGHT THE INTERVENTION AT SAN PABLO WAS BEAUTIFUL, ELEGANT AND RESPECTFUL. I APPRECIATED HOW EVEN AT THE LEVEL OF THE DETAIL, CONNECTIONS BETWEEN THE EXISTING AND NEW STRUCTURES WERE CLEARLY EMPHASIZED.” JOSH LAMDEN
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“IT WAS INTERESTING TO HEAR CATHERINE’S SUMMARY OF THE HISTORY OF SANTO DOMINGO BUT ALSO THE MORE TECHNICAL ASPECTS OF ITS CONSTRUCTION. I WAS SO SURPRISED TO HEAR ABOUT THE COMPLETE RECONSTRUCTION OF THE CYLINDRICAL VAULTS AT SANTO DOMINGO AND APPRECIATED THE EMPLOYMENT OF SIXTEENTH CENTURY BUILDING TECHNIQUES. IT LOOKED LIKE IT SHOULD HAVE ALWAYS BEEN THERE.” GRACE MATHIESON
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that there were some issues with the restoration of Santo Domingo in Oaxaca. Though many enjoyed the complete revitalization of the space, the preservation students, in particular, worried that distinctions between original and reconstructed or refinished aspects were not clearly delineated or explained via informative panels. The remainder of the afternoon was spent exploring and immersing ourselves in the culture of the Oaxaca. Small groups of students toured the exhibits of pre-Columbian artifacts in the Santo Domingo cultural center, visited the bustling mercados, tasted local delicacies and purchased souvenirs. That evening we ate dinner at Zandunga, where Professor Ibarra introduced us to the delicious food from the Istmo of Tehuantepec. Dining and socializing with our professor was a gave us all a great chance to get to know him better and hear about his interesting life and career. Saturday morning was spent preparing for travel back to Austin, though a few students made some time to eat pastries on the steps of colonial cathedrals, tour the city as the shops and businesses were opening and appreciate the beautiful weather to which we had become accustomed throughout our stay.
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Benjamin Ibarra-Sevilla Catherine Cordeiro Lincoln Davidson Izabella Dennis Grace Dixon Bekka Grady Vishal Joshi Josh Lambden Andrew Leith Ana Marcela Lozano Guiterrez Grace Mathieson Molly McNamara Paula Nasta Jessica Kulow Michaela Wright
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ACKNOWLEDGEMENTS Many thanks to Professor Ibarra, for his tireless effort and guidance. Dr. Michael Holleran With sincere gratitude to the University of Texas Mebane International Travel Scholarship committee, without The Mike and Maxine K. Mebane Endowed Traveling Scholarship in Architecture funding Studio Mexico 2015 would not have been possible. With great respect to our new dear friends at Universidad Autonoma Benito Juarez de Oaxaca: The President of the University: LIC. Eduardo Martinez Helmes Director de Obras y Servicios Universitarios: Arq. Mateo Salatiel Cruz Martinez Dean de Facultad Arquitectura: M. Arq. Jesus Pablo Hernandez Director De La Facultad De Derecho y Ciencias Sociales: Reynel Vรกsquez Zรกrate The Distinguished faculty of Facultad Arquitectura: Professor Rafael Vergara, for his great warmth and generosity throughout our time in Oaxaca Professor Martinez Professor Cecilia Rodriguez Professor Mercedes Rizo Professor Armando Diaz Jorge from Instituto de Ciencias y Artes facilities, for providing access to various spaces within the building to us Professor Rodrigo De la Torre Yarza, for his tour of Monte Alban Dr. Herwing Zeth Lopez Calvo , for his lecture on stone, masonry and concrete conservation Ms. Arredondo, the director of the Centro Historico de Oaxaca Architect Daniel Lopez, for his tour of Museo de la Filatelia de Oaxaca The staff at Hotel-Posada La Casa de la Tia Our bus driver from Facultad Arquitectura Catherine Cordeiro, for sharing her insight on Santo Domingo de Guzman
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