Gray space Revitalization of the forgotten space in the city center of Oaxaca
Image 1: Oaxaca building, (Fernandez del Campo, L. 2020)
By Luis Fernández del Campo Audelo
Este proyecto, ubicado en la ciudad de Oaxaca de Juárez, me es de gran importancia ya que esta ha sido la ciudad donde crecí y me formé. Debido a esta situación he experimentado de primera mano el cambio de la ciudad y las afectaciones que han ido causado el deterioro del centro histórico. Al vivir la ciudad uno puede notar una carencia de espacios verdes de carácter públicos, causada por diferentes factores como son la mala planeación urbana, el carácter histórico de la ciudad y la preferencia al movimiento vehicular. Es por ello que este proyecto busca no solo aprovechar de manera creativa los “espacios grises”, sino que además pretende apoyar la economía, el ambiente y la cultura de este estado de México.
This project, located in the city of Oaxaca de Juárez, is of great importance to me since this is the city where I grew up. Due to this situation, I have been able to experience first-hand the changes that the city has undergone and the effects that have caused the deterioration of the historic center. When living the city, one may notice a lack of public green areas, caused by different factors such as poor urban planning, the historical character of the city and the preference to the vehicular movement. That is why this project seeks not only to take creative advantage of the “gray spaces” in a creative way, but also aims to support the economy, the environment and the culture of this state of México.
Figure 1: Feathered snake, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
Figure 2: Recoloring the city center (adapted from Google Earth screenshot)
How can urban renewal through the landscape design enliven the forgotten spaces in the city center of Oaxaca de Juarez by revitalizing the “gray spaces” and further expanding public and open spaces in the city?
Abstract This document is the design iteration process of the author, rather than a final design report. The city center has always been a geographic, cultural and social space of a town with its own “architectural language” to specific buildings with heritage meaning. In the historic city of Oaxaca de Juarez, the abandonment and destruction of historical buildings has fostered the appearance of forgotten spaces, which are considered in this project as “gray space”. These remnant spaces are generally forgotten, underused, uninhabited, and unsafe. However, they also have the potential to contribute to the existing open space network in the city. The project is located in the heart of the city of Oaxaca de Juárez, México, with the proposed design following the cultural elements of the pre-Hispanic civilizations, such as Mixtec’s and Zapotec’s, and the Spaniard colonial style. Despite being listed as a UNESCO World Heritage Site since 1987, the stringent city regulations, lack of maintenance, seismic damage, as well as corruption, have affected certain buildings to the point of losing their heritage overlay, therefore allowing the demolition of such buildings to develop new constructions that endanger the patrimony status of the area. Through the exploration of urban landscape design tools, such as regenerative and revitalization design together with principles selected from urban ecology, this research has identified three typologies: Open Spaces, Semi-Open Spaces, and Semi-Private Public Spaces, which help in the creation of the “gray space” system, consisting of a colour-coded system that supports the environment (green), integrates culture (brown), and enhances the economy (red). The outcome of this project is a design process that explores the forgotten realm of the “gray space” system, where the landscape architect assisted by local regulations and the colour-coded system, use design thinking to renew the ecological, cultural, and economic pillars of the city.
Figure 3: Huipil Mixe symbol, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 (Background image)
Table of Content 00
- Clients & Stakeholders - Introduction
01 - Background research
- UNESCO & Mexico - Socioeconomic & Spatial Analysis
02 - Cultural background - Indigenous presence - Indigenous remnants
03 - The historic city center - Evolution of the city - Revolution of the city - Theoretical model
04 - Site analysis
- Potential Landmarks - User Experience - Spatial Conditions
05 - Gray Space
- Finding the gray space - Four shades of Gray - 3 Typologies of G. S.
06 - The Design Strategy - Theoretical Framework - Colour Coded System - Study cases - Open Space typology - Semi-Public Open Space typology
07 - Reflection 08 - Reference Figure 4: Geometric butterfly inspiration on the star of the morning, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
Primary stakeholders + Clients Government
Civil Associations
Institutions dedicated to the improvement of the state and protection of heritage. Civil groups that are dedicated to promoting projects for the benefit of the community
FONATUR
National Fund for the Promotion of Tourism
INPC
Institute of Cultural Heritage of the state of Oaxaca
SAI
SECTUR
INAH
SAI
SECTUR
National Institute of Anthropology and History
Secretary of Indigenous Affairs
Tourism Secretariat
FAHHO
Alfredo Harp Helú Oaxaca Foundation
Friends of Oaxaca
PRO-OAX
CCPCH
Patronage for the defense and conservation of the cultural and natural heritage of Oaxaca
Permanent advisory council of the historic center
Secondary Stakeholders - Owners
Gray space
Influence
- Designers - Experts - Residents - Merchants - Tourist
Project
Introduction Through my lens, the city center of Oaxaca is becoming less and less inhabited due to different causes, among the main ones we can name: the prioritization of the historic center as an economic, commercial, tourist, and social space. In 2020, according to the housing inventory (INV), there was a decrease in the number of homes in the Historic Center of Oaxaca de Juárez: they went from 282 to 30 inhabitants in a period of 5 years. (CONAVI, 2021) Due to these and other changes that the city is suffering such as the maintenance costs and the obstacles placed by the government to be able to make changes to a property, have generated the abandonment of properties. Properties that at some point contributed to the historical, social, and architectural qualities of the city. Likewise, according to data from the Municipal Civil Protection of the municipality of Oaxaca de Juárez, more than 80 homes in the historic center were cataloged in poor condition, of which 50% represent a latent danger for citizens. According to them, the large number of dropouts is due to the complicated bureaucratic procedure required by municipal, state and federal authorities for rehabilitation (Torres, 2019). This transformation of the way of living spaces has given rise, to what we will call “gray spaces”, these spaces lack a real historical value, but due to their location they are part of a series of buildings that used to provide an aesthetic value to area. Currently these spaces are ignored and some can be so neglected that they become a risk to the physical well-being of passersby. These gray areas can become areas of opportunity. Not only for the aesthetics or for the physical safety of those who walk near them, but for the city. In this way, it seeks to implement a system that integrates these forgotten spaces and generates new spaces for the development of the city. For this reason, these spaces are transformed and reintegrated into nature, since the recovery of these sites can be key to the revitalization of the historic center of Oaxaca, since it allows to renew the abandoned spaces of the city.
01 Background research
UNESCO & Mexico The relationship between Mexico and UNESCO is of great importance, due to the large number of protected historical sites in the country, as well as its cultures, traditions and gastronomy, which make Mexico a highly attractive country for tourism and foreign investment.
Countries with most heritage sites in the world
UNESCO Cultural heritage sites UNESCO Natural heritage sites Flow direction of foreign visitors
Figure 5: World Heritage List (adapted from UNESCO, n.d.)
Heritage sites per country
Main foreign visitors to Mexico
Italy
55
China
55
Spain
United Kingdom
Russia
Canada
48
Germany
46
France
45
India
37
Mexico
35
UK
32
Russia
France
USA
China
Spain Italy
South Korea
Mexico
Cuba
China
Brazil
29
USA Iran Japan
Germany
Colombia
24
Peru
24 20
Ecuador Australia
Argentina Chile
Figure 6: Travel visitors to Mexico (adapted from Sectur, 2018)
3 USA 24 Sites
Peru 12 Sites
Canada 20 Sites
2 1
Mexico 35 Sites
5
Argentina 11 Sites
Mexico is the country with the biggest amount of protected sites in the American Continent.
4
America’s top countries with UNESCO heritage sites 77% Cultural Heritage 17%
Natural Heritage
6%
Mixed Heritage
Mexico heritage sites
n-Cuicatlan V aca
ey all
Teh u
Oaxaca is one of the states with the highest amount of UNESCO world heritage protected sites in Mexico.
Preh is e H i st o r i c c i c og A r ch a e ol
nt
a& er o f O a x a c lba A sit e o f M o n te
n
al
Oaxaca city
Oaxaca heritage sites
l & Mitla agu
Caves of nic Y pa
Oaxaca city is extremely important due to its cultural influence, the richness in its biodiversity, as well as the proximity with the protected sites, allowing it to have a highly touristic impact.
Image 2: Iglesia de Santo Domingo Guzman, by unknown, n.d. Image 2.1: Tehuacan Landscape, by Diana Hernandez, 2015, photograph. Copyright 2015 by CHAC. Image 2.2: Prehistoric Caves of Yagul and Mitla, (Sandoval, L. 2019)
Socioeconomic analysis Culture
Image 3: Travel + leisure logo, Meredith Corporation. 2020 Image 3.1: Food and travel magazine logo, (O’Rorke, G. 2020)
#1 In the world for traveling
Best Gourmet Destination in Mexico.
Oaxaca is famous for the gastronomy, artestries, textiles, ruins and traditions, which brings colour to the city and enliven the every day of the people that visit and lives here.
Tourism
7.6%
92.4%
International Tourism
National Tourism
Mexico city
41.93% State of Mexico
17.17%
Others
Oaxaca
15.89%
12.47%
Puebla Veracruz
5.92%
2.56%
Jalisco
2.15%
Nuevo Leon
1.94%
Figure 7: Tourism in Oaxaca, (adapted from Sectur, 2018)
Currently most of the tourism is domestic tourism, which allows foreign tourism to be an opportunity for the growth of the state.
Poverty map
Very High
High
Low
Moderate
No data
Figure 8: Poverty map, (adapted from CONEVAL, 2018)
Indicators of social deprivation
27.1
Access to health services
76.2
Access to food
25.1
Educational lagging
16.3
Access to social security
27.9
Quality and spaces in housing
Access to basic housing services
58.3
Figure 8.1: Social deprivation, (adapted from CONEVAL, 2018)
23.3%
Extreme poverty
66.4% Poverty situation by 22.5% Vulnerable income
2.6%
Vulnerable due to social deprivation
8.5%
Not poor or vulnerable Figure 9: Poverty situation (adapted from CONEVAL, 2013)
The state of Oaxaca is one of the poorest in the country. Most of these people are from indigenous communities, which are being left behind due to the complicated demographics of the state. Due to the deprivation of basic services, people leave their communities in search of better conditions to reduce the social gap, which is causing the abandonment of their roots.
Spatial analysis Seismic epicenters since 1992
7 6.5 6.0 5.5
2018 8 7 6 5 4
Jan.
Feb.
Mar.
Apr.
May.
June
July
Aug.
Sep.
Oct.
Nov.
Dec.
Mar.
Apr.
May.
June
July
Aug.
Sep.
Oct.
Nov.
Dec.
May.
June
July
2019 7 6 5 4
Jan.
Feb.
2020 8 7 6 5 4
Jan.
Feb.
Mar.
Apr.
Aug.
Sep.
Oct.
Figure 10: Seismic epicenters, Data extracted from SSN, 2020
Oaxaca is located in a highly seismic zone. This seriously affect the development of the city as well as its architecture.
“When I’m working on a problem, I never think about beauty. I think only how to solve the problem.” Richard Buckminster Fuller (n.d.)
02 Cultural background
Indigenous presence Due to the process of Spanish conquest, the city of Oaxaca was one of the first in Mexico to be founded, but due to the geographical situation the indigenous population that existed was dispersed throughout the state, making these towns difficult to conquer and allowing them to maintain their autonomy. That is why these cultures maintain such a relationship with their past. Oaxaca’s strategic geographical position caused a rich exchange of cultures and influences between the local Mixtec’s and Zapotec’s populations with many more indigenous communities from other parts of the country. This enabled a unique blend of traditions that added to Oaxaca’s cultural diversity, reflecting in all aspects of social life, from gastronomy to architecture.
Indigenous presence
Routes of exploration and conquest of Mexico Rutes of exploration and conquest of Mexico
Tenochtitlan
1st Expedition - 1517
1522 - 1524 Pedro de Alvarado
1529 Francisco Montejo & Son
2nd Expedition - 1518
1524 - 1526 Expedition to the hibueras
1529 - 1530 Nuño de Guzman
3rd Expedition - 1519
1527 Francisco Montejo
1535 - 1536 Expedition of Peninsula of Baja California
Figure 11: Routes of exploration and conquest of Mexico, (adapted from Historia de Mexico, n.d.) Main rodes in the prehispanic times
Puebla Mexicas Rute
1540 - 1542 Francisco Montejo & Son
Prehispanic empires Mixtec’s
Merging
Mexicas Rute Golfo Rute
Yucatan peninsula Rute
Veracruz
Huajuapan
Yucuñudahui
Prehispanic civilizations Mixtec’s
Huajuapan
Merging zone
Zapotec’s
Yucuñudahui
Monte Alban (Oaxaca) Mitla
Main cities
Figure 12: Prehispanic civilizations, (adapted from “Para todo Mexico Mixteco y Zapoteco”, 2018)
Main towns
Main roads in the prehispanic times Puebla Mexicas Rute
Mexicas Rute Golfo Rute
Yucatan peninsula Rute
Veracruz
Guerrero
Oaxaca
Pacific Ocean Figure 13: Prehispanic roads, (adapted from “Dimension antropologica, INAH”, 2018)
Capital city
Towns
Roads
Indigenous presence Even to this day, multiple indigenous communities still live in the state of Oaxaca, each with their own unique languages, traditions and symbolisms that are currently being threatened due to the segregation they face. This has seriously affected their relationships with others, which alienates them from the majoritarian spanish-speaking population, and individual development. The irony of the subject is that the unique diversity and cultural richness of the state is mainly owed to this wide variety of indigenous people calling Oaxaca their home.
Location of indigenous communities Cuicateco Nahua
Mazateco
Chocholteco Triqui
Chinanteco
Mixteco Mixe Zoque
Chontal
Amuzgo Tacuate
Chatino
Huave
Zapoteco
Figure 14: Indigenous communities location, (adapted from Instituto Nacional de los Pueblos Indigenas, 2016)
Indigenous populationininOaxaca Oaxaca Indigeous population Main indigenous languages Oaxaca has a 32.2% of indigenous language speakers in Mexico
Six out of ten indigenous adults are illiterate
Others 11%
Zapoteco
33.6%
Chinanteco
Zapotec
8.9%
Mixteco
22.1%
Main spoken
Mixe
9.5%Mazatecoindigenous languages
Mixe
Of every 100 inhabitants, 66 consider themselves indigenous Figure 15: Indigenous population of Oaxaca, (adapted from Digepo, 2018)
14.9% 9.5%
Mazateco 14.9%
33.6%
Chinanteco
Mixtec 22.1%
Others
8.9% 11%
“Ndi’i kui nu chikaun, ndi’i kuii nu chañugun ka’an yo’o sa’an ñuugun.” “Wherever you travel, where you walk, always speak your language.” Instituto Nacional de Lenguas Indegenas, (2015) Traditional saying from the Mixtec on the Oaxaca Coast
Indigenous remnants
pa
Gr
ee n
p o tter y
The indigenous cultural baggage of Oaxaca is not present in the city but is present in its surroundings, showing us remnants of pre-Hispanic civilizations, such as the Mixtec and Zapotec, as well as the Spanish colonial style that occurs throughout the historic center.
m
A tzo m p a
-A
leb rij e s
A t zo
l
a
zo Ar ra
Al
bán
Key area
te
hi
la
Mon
ac
lack pottery B -
o ec
Lam bit y
c
Coyote pe
Za
-
zú
n te r - C olo n
i
Da
in
nTe xtile s
i
Ce
al
or c
A rc
H ist
h ite ct ur
e
The following sites are the main tourist attractions near the city, due to its cultural influence, as well as the handicrafts created by master craftsmen that have evolved from their ancestors, which benefit the city economically.
tit
la
Te o
u Ya g
M it
Tlac olu
Mezcal la
l
la
Scale 1:50,000 0
3.5
7
10.5
4km
Figure 16: Cultural remnants near Oaxaca, (adapted from google earth)
ost destroyed e alm k a u thq e city ear th t a e .C. Gr 931 a
1
y
1908 The city b egin s to 1907 Inaugu ratio gro no w f th 1892 Introdu er ction a ilw of the a 1892 rai lw 190 a
y
Exponen tial g r 1932 - owth of 202 0 a the cit .C y
.
8a .C .
onfrontations a.C. Ctec’s & Zapot between 5 2 ec’s 13 Mix
C 0 b. 0 5
1 a. C.
22
15
order arrives ican min s granted gory i Do cate 28 nquest by 15 Villa 4 Co 152 Alvarado 26 15 22 - ro de 15 Ped 528 a.C.
Mixtec’s arrive in the a.C. vall 0 5 ey A l b e 12 t a n n o F o und .C. M a b tio 0 n 50 . - 152
1
15 2 9 a.C
om Pa inic b lo a n C o C o n ve n t r ri d or)
a.C 1880 2 187
y c it the rez e of Jua le n a m a de sty 187 2 T he ac Oax uvo changes to rt N ed c dA co an ntrodu 1880 Art De si e wa architectur
2 a.C. 153
gi
ing
15 4 3 182 0 a .C .
Be
15
tD irs a n F (S 15 ted n 15 43 T of fo ra 78 h u is g ship e l t Sa e Cat r g reat i t 79 er T h e C ity c o n str wn Te nto D hedra o u e c t i o h n s l of mp a ll o w i n g t om n d. Oaxac 16 le ingo a t he la r e v o of 82 de G the Ba uzman Com sili ca p a n of y of J esus Sole dad
nn
03 The historic city center
The evolution of the city The city of Oaxaca has had a gradual growth from its foundation in 1486 to 1931 where an earthquake devastated the city leaving it in a process of reconstruction and unprecedented growth, due to this the urban area grew disproportionately and the absence of an urban plan to guide the growth of the city caused the deterioration of many public spaces that are now in very bad conditions. From 1993 to date, small interventions have been created in the historic center to improve public and private spaces in the city, but these have been few due to the strict policy of the INAH (National Institute of Antropology and History), which regulates the area of historical monuments.
1790
1848
1907
1933
Earthquake of 1931 Image 3: The valley of Oaxaca, by Jose Maria Velasco, 1894, oil on canvas Image 3.1: The valley of Oaxaca, by Jose Maria Velasco, 1887, oil on canvas Image 3.2: Morelos Av. after the earthquake, (unknown, 2016) Image 3.3: Diaz Ordaz street after the earthquake, (unknown, 2016) Image 3.4: Templo de Santo Domingo, (unknown, n.d.) Image 3.5: Aereal view of Oaxaca, (unknown, 2019)
1985
1992
Reconstruction of the city
Image 3.6: Libertad street, (unknown, 2016) Image 3.7: Templo de Santo Domingo, (unknown, 2018) Image 3.8: San Pablo Academic and Cultural Center, (unknown, n.d.) Image 3.9 & 3.10: Etnobotanical garden of Oaxaca, (Allison, 2017) Image 3.11: Cross of Stone Semi-Pedestrian Walker, (unknown, 2015) Image 3.12: Pedestrian street, (unknown, 2015)
Image 3.13: Textile Museum Patio, (unknown, 2007) Image 3.14: San Pablo Academic and Cultural Center, (Jarquin,C. 2017) Image 3.15: San Pablo Academic and Cultural Center, (unknown, n.d.) Image 3.16: Plaza San Jeronimo, (Google Earth screenshot, 2020) Image 3.17: Pabellón educativo de la orquídea, (FGP Atelier, n.d.) Image 3.18: Hotel Gran Fiesta Americana, (Tresmasdos, n.d.)
2000
2010
Recent interventions
2020
The revolution of the city Due to the importance of the historic center as a cultural heritage by UNESCO, it maintains a different code than other areas of the city, this area is called the historic patrimonial area limit, and has a transition area which is regulated to homologate the rest of the city with the patrimonial area, this is known as transition area limit. This protected area has had small changes created mainly by private organizations for the public benefit, which present good examples of how to intervene the gray space without being affected by the regulations of the historic center.
Transition Area Limit Historic Patrimonial Area Limit River Atoyac Scale 1:20,000 0 150
500
1000
Recent interventions Ethnobotanical Garden of Oaxaca By Francisco Toledo & PRO-Oaxaca
Located within the walls of the Monastery of Santo Domingo de Guzman, the garden land was part of the old convent garden. The Ethnobotanical Garden is a space created to show the relationships between the vegetation and the cultures of the state. The endemic vegetation of the state of Oaxaca is shown, collected, planted, cared-for and propagated. Image 4: Ethnobotanical Garden of Oaxaca by Kaldari, 2016, photograph. Copyright 2016 by Kaldari. CC BY 1.0 Image 4.1: Jardin etnobotanico de Oaxaca, (Bugallo, M. 2015)
Hotel Gran Fiesta Americana By Construction company JILSA
The hotel is located next to the largest park in the historic center “El llano”. The hotel was created as a tribute to the culture of the state of Oaxaca, based on the Pre-Hispanic monuments such as Monte Alban and Mitla. Image 5 & 5.1: Hotel Gran Fiesta Americana, (Tresmasdos, n.d.)
Orchid Educational Pavilion By FGP Atelier
Located inside of the Ethnobotanical Garden in Oaxaca, Mexico within the walls of the Church and former Monastery Santo Domingo de Guzman.
Image 6 & 6.1: Pabellón educativo de la orquídea, (FGP Atelier, n.d.)
The Pavilion is intended to support the conditions for growing diverse species through sustainable systems while being a minimally invasive building. The building is an interactive tool to educate future generations.
San Pablo Academic and Cultural Center
By Mauricio Rocha + Gabriella Carrillo
Located one block from the zocalo of Oaxaca city, the project involves two houses and part of the first Dominican convent of city. The intention of the project was to recover the original access to the convent, restore and rescue the building. Besides the project created a public archive as well as a relationship with art and culture, its a space dedicated to the people.
Image 7: Centro Académico y Cultural San Pablo, (Pereznieto, S. n.d.) Image 7.1: Library of San Pablo Cultural Center, (unknown, n.d.)
Collapsed house
Plot of land
Dense vegetation takes over
New construction
Extreme abandonment
Construction with historical value
The theoretical model of the creation of “gray” spaces in Oaxaca
Deterioration of the property
High abandonment Strict code regulation, corruption, etc.
Abandonment of property
Seismic damage
Lack of maintenance
“Ndani’ guenda ladxido’ sti ca guidxi, nuu sti diidxa nacha’hui’ ti gucadiagatu’.” “In the soul of each town, there is a story that must be told.” Familia Toledo, (2021)
From the Zapotec of the Istmo region
04 Site analysis
Climate analysis Temperature
Precipitation 50
600
40
480
30
360
20
240
10
120
0
0
5
20
15
10
30 days
25
January
0
Figure 17: Maximum temperatures, (adapted from Meteoblue)
Precipitation (mm) Average rainfall days
Figure 17.1: Monthly Average Rainfall, (adapted from world weather online)
Sun path 180
Summer
150
Winter
120
N
E
0
60
270
90
240
21
November
December
December
>20°C >25°C
September
November
October
>10°C >15°C
August
September October
July
August
June
July
April
Average Rainfall days
June
Precipitation (mm)
April May
May
March
March
February
February
January
30
W
S
300
330 Figure 17.2: Sun Path, (adapted from andrewmarsh)
Wind rose NNE
NE
ENE
N
E
W
NN
0 E
NW
ES
00
10
SE
W WN
>5km/hr >12km/hr
0
50
>1km/hr
00
15
>19km/hr
E
SS
W WSW
S SW
SSW
Figure 17.3: Wind rose, (adapted from Meteoblue)
The city of Oaxaca is classified as a dry and semi-dry climate, according to Cuéntame INEGI (n.d.) (National Institute of Statistics and Geography), this city has around 110 sunny days compared to 52 cloudy days in the year. On average the average temperature remains at 22 degrees, with an average maximum of 31 degrees and a minimum of 12.5 degrees. In summer it reaches temperatures above 30 degrees and in winter the minimum temperature is 9 degrees. The months from March to May are the months that are within the thermal comfort outdoors, in addition to being the months that present the greatest tourist influence, as well as the rainy season that goes from June to August, which indicates that half of the year is where the urban intervention would be most used by inhabitants and tourists.
Vehicular analysis Due to the colonial characteristics of the historic center, its adaptation to vehicular transport has affected the flow of this through the city, which shows a high vehicular presence in the tourist area, which seriously affects the displacement through the historic center. Even so, this benefit is for a certain sector of the population, which is a minority, since more than 75% of the population moves by public transport, bicycle or walking, so it is important to give priority to the latter in the interventions.
Main roads Secondary roads Tertiary roads
Scale 1:20,000 100
250
500
Therefore, by creating a reduction in the traffic of private vehicles, it is possible to create better mobility in the historic center, as well as spaces that contemplate more the pedestrian and not the car, allowing to create of a network that interconnects the spaces of intervention, as well as the touristic area.
65,110 Private vehicles
121,821 Vehicles
36,315 Trucks & cargo 18,364 Motorcicle 2,032 Buses
Figure 18: Vehicles in the city of Oaxaca, (adapted from Mexico como vamos)
Bicycle 5%
Others 7.1%
Private transport 13.4%
Walking 41.7%
Public transport 32.8% Figure 18.1: Transportation methods, (adapted from Inegi Encuesta Intercensal 2015)
Pedestrian and bicycle mobility Currently, the use of bicycle lanes is being implemented, which are limited and with multiple problems, be it connectivity, safety, or awareness of road culture for users. Likewise, due to the high tourist and local influx, the city center has two pedestrian corridors, thus reinforcing the reduction of motor vehicles in the tourist area. Due to this, the extension of bicycle lanes is necessary, as well as a growth of pedestrian corridors throughout the center, which can be enhanced by abandoned spaces.
Touristic pedestrian mobility Local pedestrian mobility
Scale 1:20,000 100
250
500
Existing bicycle lane Bicycle lane proposal
By having more bicycle routes and better pedestrian spaces, public spaces would have a greater influx, which would benefit by redesigning the abandoned spaces of the city, allowing them to connect with people.
1
2
3
4
There are 1.26 km of bicycle paths in the city center
55% of the population travels to work on foot
There is one vehicle for every three inhabitants
There are 1.48 km of pedestrian corridors
The bike lane does not have the recommended space to travel, putting its users at risk.
The latest intervention on the city’s bike lane has a small barrier that helps users feel safer from vehicles.
People has not vehicular knowledge about how to use the bicycle lanes, therefore it has to be clearer.
Image 8: Visible painted bicycle lane, (unknown, n.d.) Image 8.1: Protected bicycle lane, (unknown, 2017) Image 8.2: Unclear bicycle lane, (unknown, 2015)
Land use Currently, there are multiple socioeconomic problems, which are visible in different areas of the historic center but are mainly observed within the tourist area, which hinders vehicular mobility, as well as the pedestrian space. Due to its unique character, it is important to consider that these types of actions are not under our control, but they should be considered as they give the public space a different color and element to the city landscape.
Mixing housing corridor
Scale 1:20,000 100
250
500
Green spaces Historic buildings Commercial Mix commercial Mix commercial 2
Housing type 1 Housing type 2 Mix housing Equipment Pantheon
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Oaxaca, second place in indigenous conflicts ... estados donde se concentra la mayor conflictividad social son Chiapas con 60 problemas; Oaxaca con 46; Puebla con 32; Guerrero con 29; ... 1 Sep. 2017
Chiapas, Guerrero and Oaxaca, the states with more pocerty in Mexico Para ello analiza seis indicadores: ingreso corriente per capita, rezago educativo, acceso a los servicios de salud, acesso a la seguridad social, ... 6 Ago. 2019
Image 9: Roadside stands blocks pedestrians , (unknown, 2017) Image 9.1: Peddlers, (unknown, 2019) Image 9.2: Peddlers in the street, (unknown, 2019) Image 9.3: Roadside stands blocks pedestrians , (unknown, 2017) Image 9.4: Peddlers blocking sidewalk, (Jimenez, C. 2020) Image 9.5: Feminist strike, (unknown, 2018) Image 9.6: Graffity of rebellion, (Udi, 2012) Image 9.7: Locals protesting for peace, (Ruiz, S. 2016) Image 9.8: Mother and son in extreme poverty, (Perez, A. 2012) Image 9.9: Kid selling snacks, (unknown, 2013)
Green areas Oaxaca is famous for its biodiversity, mainly composed of cactaceous plants, as well as floral trees, which provide the city with colors and a vegetation unique to this region. Due to the rapid growth of the city, a lack of public spaces can be observed, as well as a low presence of green areas, which makes their recovery critical to improve the quality of public space in the city.
Parks Plazas Tree canopy
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Local vegetation
Non floral trees Copal
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- The floral trees are good for bringing color into the site. - Non floral trees tend to be tall and give a lot of shade. - Cactaceas shouldn’t have much interaction due to their spikes, but are good as ornaments. - Agaves, succulents, and asparagaceae tend to be good for public spaces.
Image 9 - 9.29: Local vegetation present in the city center, (reconociendomexico, et al. 2019), see reference section for complete citation.
Existing landmarks and monumental buildings The center is famous for its colonial architecture, which has several buildings with a high cultural value, which provide color and textures that make it a unique place; These are mostly identified in three categories: Religious, civic, and public. These buildings are surrounded by monumental buildings, which present a high cultural value of the time, allowing to maintain the style of the time throughout this area, as well as a unique color palette.
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Religious buildings Markets Monumental buildings Recent projects Green areas
The abandoned spaces of the city have the potential to become landmarks, as long as their designs are unique and convey a sense of ownership, which allows the user to easily identify them from the rest.
Landmarks Santo domingo
The cathedral
Jalatlaco
Religious La soledad
Our lady of guadalupe Camino Real Hotel
Pantheon
Xochimilco arches
Civic
MACO Etnobotanical garden
El llano
Textile museum
Alcala theater
Market “20 November”
Public Zocalo
El Conzatti
Market “La merced”
Potential Landmarks Throughout the historic center, there are more than 1700 buildings classified as monumental, these buildings have a certain aesthetic value of colonial architecture, which are suffering considerable wear due to time, climate, regulations, and earthquakes, which have the potential to change the public spaces of the historic center.
Collapsed houses Extreme abandonment houses High abandoned houses Terrains Existing landmarks Potential clusters
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01 Design approach
Highlight historic buildings and landmarks near cluster Identify potential group of houses (Clusters)
02
High abandonment
(50 - 70% Interior and facade fully or partially recoverable) The degree of abandonment of this type of property is usually slightly aesthetic and sometimes they present some severe damage to facades or the interior that requires intervention to avoid the continuity of deterioration of these, likewise the cultural value has been maintained and reflects the characteristics of the architecture of the time. Image 14: High abandonment, Source from Google Earth screenshot
Extreme abandonment
(20 - 30% Only facade is recoverable) This degree of neglect usually present the interiors of the house completely collapsed, as well as high degree of recovery of nature, likewise the facade presents severe damage but possible to recover through restoration, allowing to maintain the cultural value of the facade. Image 15: Extreme abandonment, Source from Google Earth screenshot
Collapsed house (0 % Recoverable)
The house already at this point are a danger for pedestrians due to the high degree of structural deterioration that they have suffered and it is advisable to demolish them since they have lost all cultural value that they had and only resemble a small vestige of what it used to be. Image 16: Extreme abandonment, Source from Google Earth screenshot
05
03 Understand and analyze the multiple environments to modify Establish street routes and open spaces to intervene along clusters sites
Design and create safe and quality spaces
04
User experience The following diagram shows the economic activities that influence the movement of people through the historic center, to have a better understanding of the behavior that will take place in the proposed cluster for the extension of touristic influence, since it has different attractions such as gastronomy, graffiti and some of the main attractions such as the Jalatlaco neighborhood, the “La Merced” market and the cemetery. Therefore, the activities that are proposed in the sites identified as potential landmarks, can boost trade in the proposed area.
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Cluster Proposal
Potential Landmarks
Pedestrian corridors
Restaurants & Bars
Main attractions
Graffiti Lanes
When analyzing the neighborhood we can see that the areas closest to the touristic zone have a predominance of commerce, likewise those areas that are closer to the market (eastern area), as well as the northern area, which are further away, have a residential character for the most part. Because of this, it is important to consider how potential landmarks can help benefit the surrounding spaces in which they are located, which should be focused on the users of the area.
Land use in the cluster area
Parking lot Historical Hotel Schools Residential Commercial
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User experience Due to the commerce and activities that take place in the surroundings of the city center, it is assumed that these will be the most common routes in the area of influence of the proposed expansion zone, since when analyzing the area through the navigation carried out in (Google Earth and Image, 2021), an average influx can be observed in certain parts, which with the help of potential landmarks, can transform the area and increase the tourist influence in the cluster, for that reason the day and night pedestrian routes are proposed.
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Cluster Proposal
Expected Night Path
Main attractions
Expected Day Path
Likewise, the neighborhood is governed by a structure that is usually controlled by the heights of the buildings, which helps us to visualize the scale of these, as well as the shadows they provide to pedestrians, providing a better understanding of the relationship with the users, as well as the behavior of these in the cluster area.
Building heights
1 Level 2 Levels 3 Levels 4 Levels
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Spatial conditions When analyzing the conditions of different parts of the extension area, it can be observed the behavior of the exterior spaces, but by analyzing the grayness of the spaces, it can be observed the potential that inhabits the interior of the gray spaces and its relationship with the environment, in addition to its relationship with the street and the connectivity it offers to the outside.
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Intervention project 500
Touristic area
Pedestrian Node
New touristic path
Vehicular Node
Main attractions
Landmarks
Dense vegetation occupies the space where the house used to exists
Lack of gardens forces the use of potted plants
Old light post systems object to removal
Parking lane object to removal
There is not sidewalk space Parking lane isn’t used object to removal
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Section A-A’
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Dense vegetation takes over the house
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Small size sidewalk is dangerous Soft landscape improves sidewalk Cornice gives some shadow into the sidewalk
Falling facade, dangerous for pedestrians object to removal
Section C-C’
Parking lane object to removal
Small size sidewalk is dangerous
Parking lane object to removal
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Small size sidewalk is dangerous Public space extends pedestrian space
Section E-E’
Street vendors occupy the sidewalks
Friendly sidewalk lacks vegetation
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Tents block visual object to removal
Parking lane needed due to lack of parking lots
Section F-F’
Street vendors block sidewalk
Informal street vendors outside market potential for adaptation
Lack of outdoor dinning space
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05 Gray space
Finding the gray space There are different ways of analyzing the scale of the neighborhood, the most common is through the figure-ground map, which allows us to clearly see the built and unbuilt areas of the city, but this does not allow us to see those spaces that are in decline, abandonment or destruction, which is not part of the undeveloped area and therefore remains in an intermediate zone which we will call the gray space.
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Four shades of Gray Those spaces that we previously identified as potential landmarks (High abandonment, Extreme abandonment and Collapsed house), are spaces that have lost their cultural value and are in dire need of intervention due to the degree of deterioration they present, therefore these spaces are considered as gray areas of the city.
Public Space Buildings Private Patios Gray Spaces
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3 Typologies of Gray Space The spaces identified as possible landmarks are classified according to their physical characteristics, which, due to the regulations of the historic center, restrict the way in which the space can be altered, therefore three ways in which the space will be worked were defined based on the pre-established typology of this tide: 1. Collapsed house = Public open space. 2. Extreme abandonment = Semi-public open space. 3. High abandonment = Semi-private public space. Likewise, some private patios have the potential to be interconnected with the typology’s, allowing this to expand the evolution of this public spaces.
Public open space Semi-public open space Semi-private public space Connective patios
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06 The Design Strategy
Theoretical Framework This framework displays the theoretical and practice to demonstrate the principles established by urban regeneration, urban ecologies, as well as certain principles of ecological design, as well as shows some of the regulations that affect the properties of the historic center of the city of Oaxaca.
It is intended to change the nature of a place base on four dimensions: • Economic competitiveness • Socio-cultural problems • Physical problems
environmental
• Governance-related
Urban regeneration
Rapid growth of moder urban environments is accompanied by degradation process. Public spaces and parks represent cultural environment as well as an space for relaxation, play, entertainment, etc.
Small areas that are defined as abandoned and "dormant spaces" where they are adapted into public spaces.
Base on the idea of Tr a n s i t - o r i e n t e d development (TOD).
They triggering the urban regeneration through this new potential found in the city.
“Walking sheds” are walking areas that have main activities that can be performed by walking period that don’t exceed 5 minutes or 400 meters.
Pocket parks
Pedestrian parks
Urban ecologies
There are multiple design approaches implemented in cities, but the most used are: - Curb bulbs - Traffic calming - Green roofs
Other solutions
Ecological design
Design
Theory Regulations
Urban furniture In the case of the construction of new buildings, these must follow the provisions: • Use congruent levels and heights of neighboring properties. • Services and facilities hidden from any visual angle. • Facade materials must be similar to those used in the area. • The rhythm and proportions of the openings must be similar to those in the area.
Buildings & facades In the cases of historical, artistic or typical buildings : • With extreme abandonment the expropriation process may apply. • The facades must be preserved or restore to their original state. • Must use the color scheme approved by the Historic Center and the color for the blacksmith items will be matte black.
• Partial plan for the conservation of the historic center of the city of Oaxaca de Juarez. • General regulation of the historical center for protection of the cultural heritage of the municipality of Oaxaca de Juarez.
Landscape Prohibited to remove, alter, modify or destroy the ornate elements of historical value such as: • Gardens (layout) • Flowerbeds • Fountains • Sculptures • Memorials
Taichung Gateway Park by Stan Allen Architects
Clyde Corridor Regeneration Strategy by Glasgow City Center
Pedestrian Shed Diagram
The project follows a pedestrian park strategy that also integrates the principles of urban regeneration by transforming the quality of the urban environment that integrates elements such as: • Integrated public transport. • Recycling land and buildings. • Benefits of regeneration for residents, business and the local communities.
The project incorporates new urbanism ideas based on the high-speed railway, at the same time includes ecology and architecture. The form that they used diagrams to analyze this area allows to understand easily how it works and interacts with the city.
International
Practice National
Regional Tecnológico de Monterrey Urban Regeneration Plan by Sasaki
The project strengthens the relationship between the campus and the surrounding neighborhoods. Its a project that focus on the pedestrian, the recovery of vegetation and the growth of the community. Image 12: Access from train medium, (WMUD, 2000) Image 12.1: Urban character areas, (WMUD, 2000) Image 13: Isometric view, (Stan Allen Architects, 2008) Image 13.1: Site analysis diagrams, (Stan Allen Architects, 2008) Image 14: 3D Master plan, (Sasaki, 2014) Image 14: Overall framework, (Sasaki, 2014)
Local Centro Académico y Cultural San Pablo by Mauricio Rocha + Gabriela Carrillo
Recovery of the first Dominican Convent. It uses the spaces between the buildings as a green corridor to exploit the commerce of the area, as well as the introduction of native vegetation.
Precedents Global Street Design Guide
Afghan Bazaar Cultural Precinct
The proposed guide allows us to see how the streets that have been oriented to vehicles, how they can be transformed if they are oriented more to other means of transport, as well as a focus more on pedestrians.
The project shows the Afghan business concentration and cultural influence in the area, which uses the street to reflect Afghan culture and influence, as well as a place to explore public life, community identity, unity and pride.
Likewise, these proposals have been made in different parts of the world, for which a positive effect has been verified in the cities where it has been implemented, therefore showing that this solutions can be applied anywhere in the world.
Likewise, the evolution of the street as a space more than pedestrian is an evolution of the culture and community that exist, a clear reflection of this is the use of blue and lapis lazuli due to the influence of these colors in the community as well as the artistic elements that are reflected along the furniture and the street, giving this a unique design.
By NACTO & GDCI
By HASSELL
Pedestrian friendly
Use of vegetation
Bike protections
Colour meaning
Culture symbols
Patterns
Adapting the street
Street signals
Commercial activity
Light features
Bench features
Temporary furniture
Image 18: Boulevard street, Adapted from the Urban Street Design Guide, Published by Island Press
Image 19: Cultural influence in the street, (Lloyd, A. 2014)
Place de la Paix
Central Library of UNAM
By Mutabilis Landscape Architecture
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The project occupies what used to be a parking lot (forgotten space), which is intended to be returned to pedestrians. The city used to be very famous for its wheels, for this reason multiple gear symbols are presented throughout the square, because the gear is the emblem of the city. The proposal uses the symbolism of the city in a subtle way, allowing it to influence different elements such as lamps, furniture and the floor.
The library was built on a rocky basalt stone terrain, which was used in different parts of the project showing gods and main symbols, such as the Tlaloc fountain. The color palette implemented in the murals were inspired by the rocky area, as well as the facades that present a high load of Mexican symbolism, which are presented by means of 4 murals that form the envelope of the building and that each facade has a series of meanings different from the previous one.
Colour pallet
Local materials
Cultural background
Colour pallet
Local materials
Cultural background
Subtle symbol
Furniture resemblance
Light features
Strong Symbols presence
Local vegetation
Visual impact
Image 20: Indirect symbolism, (Mutabilis-paysage, 2013, render, Copyright 2013 by Mutabilis Paysage & Urbanisme)
Image 21: Facades with Mexican symbolisms, (Gonzales, M. 2020)
Colour Coded System System designed to guarantee the cultural, economic and natural influence in the interventions carried out, which is based on three phases. It begins with the Phase 0 by identifying the typology (Collapsed house, Extreme abandonment or High abandonment). Phase 1 is the connection areas with the spaces surrounding the project are analyzed for their use.
Phase 0 - Gray Space
Phase 1
Identify Typology
Nexus Spaces
Phase 2B
Green Code - Environmental
Brown Code - Infuse Culture
Red Code - Economic Enhance
The second phase is divided into two (A and B), in the first one a cultural investigation is carried out from various sources as an inspiration to introduce elements that add color to the site. The second one introduces the colors red, brown and green according to the needs and opportunities that were identified in the first part. Finally, the colors are combined, to have a more complete contribution to the site.
Phase 2A Tools
Art
Architecture
Celebrations
Handicrafts Traditions
Oaxaca
Clothes Dance
Background Research
Phase 3
Mix Codes
Testing sites The following map shows us the location of the pilot sites, as well as the typologies that will be addressed in the design iterations.
Sites locations
Pilot site 2
Pilot site 1
Open public space Semi-Public open space
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Likewise, the color palette for colonial facades is determined by the regulations of the historic center, as well as the materials that can be implemented in the interventions.
City center faced colour pallet
Materials Colonial forge
Image 22: Colonial forge, (Fernandez del Campo, L. 2018)
Brick
Image 22.3: Brick arch, Source from google earth screenshot
Paved path
Image 22.6: River stone path, (Fernandez del Campo, L. 2021)
Quarry
Image 22.1: Green quarry texture, (Fernandez del Campo, L. 2018)
Adobe
Image 22.4: Adobe texture, (Fernandez del Campo, L. 2018)
Concrete
Image 22.7: Concrete texture, (Fernandez del Campo, L. 2018)
Clay tiles
Image 22.6: River stone path, (Fernandez del Campo, L. 2021)
Wood
Image 22.5: Green quarry texture, (Fernandez del Campo, L. 2018)
Open Space Typology Testing 1 Background The proposal is inspired by the Mixtec ball game, which is typical in the region, as well as the court and pyramids of the archaeological site of Monte Albán. For this reason, the shape of the court is in I, since this is the shape of the pre-Hispanic courts. The stones that are seen in the archaeological site of Dainzu, served as inspiration to show the warriors who played this game as if they were playing, which could be seen at night if these silhouettes were transformed into lamps. Also, in order to exaggerate the symbolism, the vegetation that was proposed for this proposal should follow the connotation of the sky, the night or the stars, since the pyramids follow their orientation based on the stars.
Inspiration Mixtec ball game
“Modern” adaptation created in Oaxaca, of the prehispanic ball game. Image 23: Mixtec glove and ball, (Frank, L. and Margarita 2014)
Monte Alban court
Lady of the night
The prehispanic field is associated with the underworld, and the stairs represent the earth.
A flower that only blooms once a year at 12 pm only for a couple of minutes before closing and dying.
Image 24: Monte Alban court view, (Fernandez del Campo, L. 2018)
Image 25: A Queen of the Night, (gogo, 2005, photograph, Copyright 2005 BY-SA 3.0)
Symbols
Source: Mixtec codex Culture: Mixtec Representation of a star, and the eye of the sky.
Figure 19: Eye of the sky, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
Source: Dainzú archaeological site Culture: Zapotec Dainzu ball player carved in stone
Esculptures of the Dainzu warriors represented as if they were playing the game
Escalonated area for sitting inspire by the ramps of the field game.
Climbing plant that shows part of the local vegetation
Learnings This design iteration process, shows the importance of having the physical model, since it allows to observe how the public space is perceived with the surroundings, likewise the implementation of symbolism with light was a factor of great interest since it was not planned and could be taken farther, at the same time the implementation of symbolism in the vegetation is usually a factor that is not considered when designing and which could have greater potential.
The physical model allows to see the relationship with the surrounding buildings as well as with the street
Open Space Typology Testing 2 Background The proposal is inspired by the combination of cultures to show the harmony and influence of these in the landscape. The shape and characteristics are inspired by the Colonial patio, taking its multiple elements such as the arches, the fountain, the columns, the shape and its relationship with the house. Likewise, the implementation of symbols directly in different elements is based on the ruins of Mitla and its frets. In addition to this, the alebrijes served as inspiration as a way of transmitting messages by uniting multiple symbols and creating meanings that are transportable in the elements to be designed.
Inspiration Colonial patio
Grecas of Mitla
Alebrije of Oaxaca
The characteristics of the colonial patio reflect the Spaniards influence in Oaxaca.
The symbols are presented across multiple walls, showing the relationship between symbolism and culture.
Moder adaptation of Zapotec symbols into wood carved with different animals and mythical shapes.
Image 26: Colonial patio, (Fernandez del Campo, L. . 2018)
Image 27: Grecas of Mitla, (Fernandez del Campo, L. . 2018)
Symbols Source: Mitla Culture: Zapotec Symbol use in ceremonial centers Source: Huipil Culture: Chinanteco Use in the local textiles presented in Huipil
Source: Santiago Choapan Culture: Zapotec Traditional huipil symbol
Source: Huipil Culture: Amuzgo Represents figurative birds
Source: Santo Tomas Quieri Culture: Zapotec Represents the European floral forms Figure 20: Ceremonial symbol, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 21: Snake huipil, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 22: Brocade canvas, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 23: Triangle with crosses, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
Image 28: Wood figure with interpretation of Zapotec symbols, (Fernandez del Campo, L. 2015)
Source: Brocade canvas Culture: Mixtec It’s present in some local textiles. Source: Filigrana artestri Culture: Oaxaca Represents spirals sequential in double row. Source: Codex Culture: Mixtec Symbol that represents town or territory, it defining geographic space and representation of the place
Figure 24: Figurative birds, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 25: Filigrana circles, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 26: Corn symbol, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 27: Codex symbol, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
The plant follows a shape and rhythm of the traditional colonial patio. The fountain can be replaced with a water mirror, which helps with the thermal comfort of the area.
Traditional column and arch
Add symbolism into the columns to tell a story.
Evolution of the arch
The shape gives more shadow for users but are dangerous if made of concrete due to seismic activity.
By using multiple symbols in the columns we can tell a story that brings more cultural knowledge into the site, therefore reflecting part of the indigenous culture. Column 1
Column 2
Represents the city in mountains since the city of Oaxaca is famous for its geographical context.
Representing the textile traditions and it shows the multiple civilizations that have exited before in Oaxaca.
Column 3
Representing the natural landscape, which has made Oaxaca a unique place in the world.
Learnings
The introduction of symbolisms in a direct way as it was in the columns helps to tell stories, which if they are united allow to transmit knowledge. Likewise, using elements that have contact with the surroundings, allows to extend the area of influence that is not obtained by the design of the plant. In addition to having a plant with little dynamism, it makes the space look boring.
Frames shows the history of the city, and reflects the idea of windows looking into the patio.
The capitel of the columns don’t have to touch each other to reflect the idea of the arch
Symbol of filigrana can reflect movement and change, which is the main characteristics of water.
The 3D model helps to visualize the feeling that the space could give into the site, as well as the connection of the proposal with the neighboring buildings. It also helps to make fast decision in the materiality of the space, which is not possible in the physical model.
Open Space Typology Testing 3 Background The proposal is inspired by Oaxaca traditions, one of which is based on the itsmeña wedding, where a dance called “Mediu Xhiga” or cooperation dance is performed, in which close friends and family members dance around the bride and groom with some pots, that is filled with money and at the end of the dance, they break the vessel in front of them, as a sign of prosperity. Another of the traditions in which the design is inspired is around the samaritan’s day, in which during that day people give away fresh waters that usually come in large clay pots.
Inspiration Mediu Xhiga
Samaritan’s day
Traditional wedding dance from the isthmus region, known as “Mediu Xhinga” or cooperation dance.
It is a local festival inspired by the Catholic Church, where flavored waters are given to passersby.
Image 29: Cooperation dance, (Ramos, F. 2021)
Image 30: Samaritan’s day, (Ricardez, M. 2021)
Symbols & Cultural Knowledge Source: Codex Culture: Mixtec Represents a day on the calendar, in this case it is the number eighteen Source: Santiago Nuyoo Culture: Mixtec It represents the linked stars in the dark sky. Source: Wedding huipil Culture: Mixtec Used in the traditional clothing for the wedding. Figure 28: Number 18, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 29: Water animal, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 30: Stars in the sky, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 31: Huipil symbol, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 32: Wedding symbol, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 33: Water symbols, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
Source: Codex Culture: Mixtec Represents aquatic animals that inhabit rivers, surroundings of the territory by that the Mixtec lords traveled. Source: Huipil Culture: Chinanteco Symbol found in the Huipil, which is a traditional indigenous clothing. Source: Ceramics Culture: Mixtec Symbolizes the water in three different ways: in waves small, moving (whirlpool) and contained in something. The figure on which they are shaped suggest entries that could lead to mythical spaces.
Initial approach - Enclosed design The model allows us to have a quick interaction with the space that we plan to design, it is an element that allows us to imagine and propose at the moment, in this case by being able to interact with the space, different arrangements can be created to see how people could behave in the space by seeing which parts would be aesthetic, natural elements and fixed furniture, thus allowing to create an exploration through experimentation. Unassigned squares will be selected to use as floor luminaries
Water vessels to represent the traditions are assign a square from the symbol
Sitting arrangement assigned through the model experimentation
Dynamic floor plan is inserted, it follows the huipil symbol.
Arrangement of vessels and sitting across the floor plan
Street view plan with vegetation
Floor plan arranged with the context
Floor plan with vegetation on site
Open Space Typology Second approach - Involvement of surroundings By using the design of the plant of the proposal and extending its lines to the surroundings, a relationship is generated with it, which envelops the space and makes it something of its own. To get to this, it is necessary to consider the context and how it responds to the design, so multiple design tests must be performed to obtain a design appropriate to the space.
Testing of the vehicular, pedestrian and bicycle flow
Shadow analysis of the area
Working the surrounding walls
Third approach - Furniture & vertical elements
Floor plan design experimentation to create a more dynamic interaction
Through the bench design it is stipulated that the day of the wedding is on the day eighteen
The banner embedded with the mythical animal shows the road of the “Mixtec lord”, to highlight the intervention areas across the expansion area for tourist to follow.
Design lamp post that embedded the pattern of stars, which connected to city network represents linked stars.
Creation of unique and generic furniture to expand the area of influence delimited by the enclosed space
The following images shows the interaction between the enclosed space and its surroundings, which are being influence by the design intervention and the furniture.
has the the the
Open Space Typology
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Open Space Typology Final approach - Refinement Closed spaces are areas of the city that need to extend their influence to the streets, since if they do not, they become pocket parks, that can go unnoticed. By implementing symbols, as well as cultural references in public spaces, a story is created, which allows to create a link with the community and with its past. By creating a relationship with the surrounding space, this cultural influence can be extended to users, by having elements that represent cultures that have marked their formation, retaking an already forgotten influence and making it participate in society again. These elements can be seen represented throughout the project, in lights, benches, elements of water and earth, in walls, in signs and in subtle details that allow the space to be transformed. These elements can evolve and influence local commerce to be used as ingredients of a new economy.
Semi-Public Open Space Background
The proposal is inspired by the tradition of the day of the dead, which is celebrated in a unique way in the city of Oaxaca, since it has indigenous influences that maintain a greater cultural roots. Likewise, the site of Mitla was a ceremonial place dedicated for the rest of the deceased, which is present with multiple symbolisms in all its architecture, as well as myths and legends. Both things arise from the belief of the Mictlan, which is considered as the underworld of the pre-Hispanic era, which is reached through nine trials that the soul has to overcome in order to be reborn.
Inspiration Day of the death
Mitla
The 9 trials
Traditional Mexican festivity, that honors the people who have died and are no longer in the mortal realm.
Also know as Lyobaa, which means resting place, is also consider as the land of the dead, was one of the biggest ceremonial centers of its time.
To reach Mictlán, consider as the underworld, the dead had to go through a path of 9 tests so that their souls could resurrect.
Image 31: Altar of the dead, (Fernandez del Campo, L. . 2018)
Image 32: Tomb decorated for the day of the dead, (Fernandez del Campo, L. . 2018)
“Niru zasaalu’ guirá’ shisha neza guidxilayú ti ganda guidxelu’ lii”. You will first travel all the roads of this world before finding yourself Familia Toledo, (2021)
From the Zapotec of the Istmo region
Symbols Source: Ceramic plate Culture: Mixtec Represents water, but by having the eye, it means the stars in the night sky.
Source: Ceramic cup Culture: Mixtec It represents the stars, but the eye connotes a larger star, the sun.
Source: San Juan Ojitlan Culture: Chinanteco
Source: Huipil brocade on backstrap loom Culture: Amuzgo
These iconographies suggest pre-Hispanic forms
Represents bush branches
Source: Huipil Culture: Mixe Combination of human and animals, which represents the male gods.
Source: Huipil Culture: Mixe Combination of human and animals, which represents the female gods.
Source: Huipil Culture: Mixtec Because of the dress they wear, they are dancers, the details of the arms suggest feathers.
Source: Clothing girdle Culture: Zapotec
Source: Santiago Choapan Culture: Zapotec The form suggest a rooster, that symbols fight and man power.
Source: Codex Culture: Zapotec Represents the mats or duffel bags use by people.
Source: Glyph Culture: Zapotec Calendar and numerical language
Source: San Juan Cotozocon Culture: Mixe Symbol found in the huipil.
Figure 34: The moon, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 35: The sun, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 36: Iconographic symbol “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 37: The branches, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 38: The gods, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 39: The goddesses, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
Represents the man
Figure 40: The dancer, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 41: The pawn, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 42: The rooster, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 43: The tower, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 44: Numerical bench, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020 Figure 45: 4 Cardinal points, “Geometrias de la imaginacion. Diseño e iconografia de Oaxaca”, 2020
The 9 trials of the dead
9
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Itzcuintlan (Dog place) To cross the black river the person will need the help of a Xolotl (dog).
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Iztehecayan (Snow place) The dead now only made of bones and organs will keep climbing the snow mountains that will being cut by the rocks.
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Teocoyocualloa (Place of the beasts) A jaguar comes and eats the heart of the dead.
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Tepeme Monamictlan (Where the mountains meet) The place where two mountains crash, the dead most leave behind his belongings.
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Pancuetlacaloyan (Windy area) Desert area without gravity where the dead are at the mercy of the wind
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Apanohualoyan (Black river) The dead man had to fight to get out of this area
Iztepetl (Obsidian mountain) The dead must climb a mountain of obsidian, which will tear the skin.
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Chiconahualoyan (9 Rivers meet) Place of reflection and decisions of the life of the dead, connecting him with his life and with what surrounds him, becoming one with the whole.
3
Temiminaloyan (Shooting arrows) Long trail where thousands of arrows are shot
Indirect symbolism in the site The following diagram tells us about the process that was implemented for the design of the semi-public space, due to the characteristics of the site, an analysis was implemented through four main aspects: The first is through the connectivity that it can have with its surroundings, since this allows to create a space that is not enclosed and gives greater fluidity to the public space. The second is based on representing symbolism in an abstract way, through the nine trials of death, which as each area is different, it is necessary to create paths that produce a disruption between the areas, which follow each of the steps to get to Mictlan. The third point seeks a way to create a relationship between the activities and the facades in a subtle way that would allow the design to expand to the neighboring context, a clear case would be the chess wall, but there are others such as the sun and the night, which is based on the duality of the desert and the snow. Finally, due to the great amount of private accesses to this house, an exploration was made of how to intervene without touching the façade in order to control the public accesses of the property. Vegetation
Sculptures
Flooring
Access exploration Facade-Access relationship
Shooting arrows
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Sun
Climbing the mountain
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Moon
Chess
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8 9
1-9 Nine trials of Mictlan Disruptive path
Roof connection Potential patios Access link
Exploring symbolism in the design Most of the symbols are usually used without a specific reason and are only adapted, but by giving them a story these spaces are transformed and acquire a value, a clear example of this is the chess, which symbolizes the clash between the two mountains.
Other symbols serve as a literal representation, as is the case of the desert area and the snow, which is reflected in the symbols of the sun and the night, showing the duality that exists in this space.
Some symbols may be hidden in the foreground, as is the case of the jaguar that goes unnoticed at pedestrian level, but from an aerial view its figure can be appreciated.
Defragmentation of a symbol Indirect symbolism can be generated thanks to in-depth cultural knowledge of the region, due to this some spaces can have a design that usually goes unnoticed. The following diagram explains the process of defragmenting a symbol for intervention.
Cultural background A similar symbol is found in Mitla which represents the 4 cardinal points, as well as the center location.
1
2 The symbol is placed within the context assigned for the design of the space.
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N
The shape is simplified and the E symbolism is subtracted, in this case they are the four cardinal points.
W
S 4
Supraworld Earthly world Underworld
By giving it depth and staggering the space, the levels are created, which represent the underworld by being submerged in the earth, likewise by gazing into the sky we can find the supraworld (heaven), which converge in the earthly world.
5 The cross in the center symbolizes the navel of the world, which at the moment is still clearly visible and is disconnected from the design, for which its unity is sought to create a uniform element.
Semi-Public Open Space
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ib iti on
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area
The symbols are elements of the landscape that have a great weight in the designs, they are elements that inspire us and help in the generation of ideas, they allow us to approach the landscape, either through cultural, natural or ideological influence, conserving part of the history of the indigenous communities of the region. Indirect symbolism allows landscaping to have more elements to transform the landscape since symbols can evolve, as long as they do not lose their essence. These elements can be more than decorative details, but also interactive with the user, so that when they see and learn from their forms subconsciously, they begin to relate these symbols with the cultures to which they belong. By creating a connection between symbolism and nature, it makes this something more real, since it allows to transform a visual experience to a sensory one, which thanks to the evolution of the vegetation makes this a unique journey, where each element is essential.
“Whoever forgets their history is condemned to repeat it.” Jorge Agustín Nicolás Ruiz de Santayana (n.d.) During the “Gray space” project, I have had to deepen my investigation of the cultures and vegetation that have formed or are part of the city of Oaxaca. This research led me to think about how much of the indigenous culture and native vegetation of the state has been lost, which go unnoticed by the majority of the population and are actually the basis of their culture, that is why projects are important intervention, to promote the recovery of these elements and increase the relationship they have with people. That is why during the project, the symbolism and implementation of a vegetation that can be successful in the long term in the city and that has a positive impact on the memory of the users was always a fundamental aspect in the decision-making of the designs. According to experience designer Erik Adigard, design is everything we make, but at the same time it’s a mix of things inspire by the things that come in contact with the person. This project seeks to retake the gray spaces located in the historic center of the city of Oaxaca, to turn them into areas of opportunity, and that in the short or long term can be implemented in unused places in the historic center, seeking to incorporate culture, vegetation and history, that make this city unique. Through the use of the color-coded system, the aim is to guarantee the identification and development of these gray spaces present in the city, as well as the design of these new areas of opportunity, which could include parking spaces, streets, rooftops and of a third typology that encompasses spaces with not so extreme abandonment, but that continue to be wasted areas of the city. Through the implementation of symbolisms in the existing architecture, the clusters of wasted homes can be homogenized, facilitating the identification of new spaces for users and allowing the tourist and economic reactivation of these expansion areas, creating a more fluid and complete route throughout along the historic center. This project is mainly based on my knowledge of the city, its history and evolution. But the established proposals should not be taken as a definitive solution, because they are projects that have room to grow and improve, and the participation of these spaces in the project depends on external factors, such as owners, government groups and civil associations.
07 Reflection
08 Reference
References Articles Sosa Y 2019, “Ambulantes e indigentes reinan en la ciudad de Oaxaca”, El Imparcial,19 Marzo, viewed 15 October 2020 <https://imparcialoaxaca.mx/la-capital/288853/ambulantes-e-indigentes-reinan-en-la-ciudad-deoaxaca/>. Jiménez C 2020, “Ambulantes invaden espacios públicos en la capital de Oaxaca”, Diario Marca, 14 Jun, viewed 15 October 2020 <https://www.diariomarca.com.mx/2020/07/ambulantes-invaden-espacios-publicos-en-lacapital-de-oaxaca/>. Acevedo J 2017, “Reconoce nuevo Director de Comercio incremento en número de puestos ambulantes”, TV Bus, 20 September, viewed 5 October <http://www.tvbus.tv/web/2017/09/20/reconoce-nuevo-directorcomercio-incremento-en-numero-puestos-ambulantes/>. Reina E 2016, “Empresarios de Oaxaca: Estamos hartos de que el gobierno no nos escuche”, El Pais, 9 Agost, viewed 5 October <https://elpais.com/internacional/2016/08/09/mexico/1470699311_754933.html>. Jeronimo L 2019, “Ambulantes nuevamente se adueñan de calles en centro histórico de Oaxaca”, TV Bus, 20 September, viewed 5 October <http://www.tvbus.tv/web/2019/01/03/ambulantes-nuevamente-se-aduenande-calles-en-centro-historico-de-oaxaca/>. Unknown 2013, “Maltratan a otro niño vendedor, ahora en Oaxaca”, Animal Politico, 4 Agost, viewed 28 September < https://www.animalpolitico.com/2013/08/maltratan-a-otro-nino-vendedor-ahora-en-oaxaca/ >. Municipio de Oaxaca 2019, “Ciclovía Guelaguetza 2019 favorece la movilidad en la capital: Oswaldo García”, viewed 10 October 2020 < https://www.municipiodeoaxaca.gob.mx/prensa/539/ciclovia-guelaguetza-2019favorece-la-movilidad-en-la-capital-oswaldo-garcia/ >. Ultra noticias 2015, “El INEGI ya considera ir a pie o en bicicleta como medio de transporte”, Mi diario Urbano, viewed 4 October 2020, <http://www.ultra.com.mx/noticias/hidalgo/Nacional/8436-el-inegi-yaconsidera-ir-a-pie-o-en-bicicleta-como-medio-de-transporte.html> Unknown 2018, Oaxaca se sumará por segundo año a la Huelga Feminista global, Oaxaca Capital, viewed 5 October 2020 <https://www.proceso.com.mx/reportajes/2017/9/1/oaxaca-segundo-lugar-en-conflictosindigenas-190608.html>. Matias, Pedro 2017, Oaxaca, segundo lugar en conflictos indígenas, Proceso, viewed October 2020<https://www.proceso.com.mx/reportajes/2017/9/1/oaxaca-segundo-lugar-en-conflictosindigenas-190608.html#:~:text=%2D%20Por%20lo%20menos%20312%20conflictos,los%20Pueblos%20 Ind%C3%ADgenas%20de%20M%C3%A9xico.> Ciudad secuencia 2015, “De qué hablamos cuando hablamos de Movilidad No Motorizada”, Ciudad secuencia, viewed 10 October 2020 <https://ciudadsecuencia.wordpress.com/2015/11/25/de-que-hablamos-cuandohablamos-de-movilidad-no-motorizada/>. Historia de México n.d, “La conquista Española”, viewed August 2020 <https://sites.google.com/site/ historiademexicohistoria/la-conquista/conquista-militar> Castillo Q 2020, “El Monte Albán: la gran joya de Oaxaca” CondeNast Traveler, viewed 15 October 2020 <https://www.traveler.es/naturaleza/articulos/visita-asentamiento-zapoteco-de-monte-alban-que-hacer-quever/18339>.
Indigenous Articles Isis Santiesteban Escalante, n.d. “Triptico Mitla”, Mitla la ciudad de los muertos, blog post, viewed 20 September 2020. < https://www.academia.edu/24469826/triptico_mitla> Chapter 2 Mitla y la xicalcoliuhqui, n.d. UNAM, viewed 2 September 2020, <https://arquitectura.unam.mx/ uploads/8/1/1/0/8110907/4_cap%C3%ADtulo2.pdf> Ojeda, M 2003, Las mujeres y sus diosas en los códices prehispánicos de Oaxaca, “Mitos de Origenes Mixtecos”, Pueblos Originarios, viewed 1 September 2020, <https://pueblosoriginarios.com/meso/oaxaca/ mixteca/origen.html> Henestrosa, A. 2008, “Leyendas Zapotecas”, Magazine Casa del Tiempo, Universidad Autónoma Metropolitana, Vol. 04, PP 78-80, viewed 4 September 2020, <http://www.uam.mx/difusion/ casadeltiempo/04_iv_feb_2008/casa_del_tiempo_eIV_num04_78_80.pdf> Camarena, C. 2018, “El flechador del sol, la leyenda mixteca”, Más México, viewed 20 September 2020, <https://mas-mexico.com.mx/el-flechador-del-sol-la-leyenda-mixteca/#:~:text=Ambos%20pueblos%20 se%20denominan%20a,la%20necesidad%20de%20m%C3%A1s%20espacio> Jansen M. & Pérez A. 2009, La lengua señorial de Ñuu Dzaui, CSEIIO, México, viewed 3 October 2020, <https://openaccess.leidenuniv.nl/bitstream/handle/1887/14362/La%20lengua%20se%c3%b1orial%20de%20 %c3%91uu%20Dzaui.pdf?sequence=2> México, P. t. 2019, México Prehispánico. Obtenido de Cultura Mixteca - Todo sobre los mixtecos, Para todo México, viewed September 2020, <https://www.paratodomexico.com/mexico-prehispanico/culturasprehispanicas-de-mexico/cultura-mixteca.html> Sanchez, A & Mora, M, n.d, “La identidad regional a traves de la apropiacion iconografica en los artesanos de teotitlán del valle, oaxaca”, UNAM, viewed 15 september 2020, <http://ru.iiec.unam.mx/3949/1/094S%C3%A1nchez-Mora.pdf> Aquino, O, 2008 “Perspectivas matemáticas del calendario hispánico y las grecas de Mitla en la cultura ñuu savi”, viewed 8 September 2020, <http://www.geocities.ws/octavioalberto.geo/math/perspectivas.pdf>
Regulations SINFRA 2019, Desarrolla Sinfra Proyecto de Corredores Ciclistas y Peatonales para la Zona Metropolitana de Oaxaca, Secretaría de las infraestructuras y el Ordenamiento Territorial Sustentable, viewed 2 September 2020, <https://www.oaxaca.gob.mx/sinfra/2019/02/22/desarrolla-sinfra-proyecto-de-corredores-ciclistas-ypeatonales-para-la-zona-metropolitana-de-oaxaca/> Rodríguez, Y., La transformación urbana a partir de la declaración patrimonial el Centro Histórico de Oaxaca de Juárez, paper, Universidad Nacional Autónoma de México, México, viewed 20 September 2020, <https://upcommons.upc.edu/bitstream/handle/2117/108544/62BGT_RodriguezYadira. pdf ?sequence=1&isAllowed=y> ISSUU 2018, General regulation of the historic center for the protection of the cultural heritage of the municipality of oaxaca de juarez, Oaxaca, 2020, viewed August 2020, <https://issuu.com/ppcrocker/docs/ normativa-oaxaca>
References Data sets INEGI 2016, “Encuesta Intercensal 2015”, census, viewed 22 September 2020 <https://www.inegi.org.mx/ programas/intercensal/2015/ >. eeTestudio arquitectura + urbanismo S.A. de C.V. 2011, “Sistema de Ciclovías de Oaxaca“, viewed 10 October 2020 < https://www.eetestudio.com/sistema-de-ciclovas-de-oaxaca >. Secretaria de Infraestructuras y el Ordenamiento Territorial Sustentable 2019, “Proyecto de Corredores Ciclistas y Peatonales para la Zona Metropolitana de Oaxaca”, SINFRA, viewed 10 October 2020 < https:// www.oaxaca.gob.mx/sinfra/2019/02/22/desarrolla-sinfra-proyecto-de-corredores-ciclistas-y-peatonalespara-la-zona-metropolitana-de-oaxaca/ >. SECTUR 2013, Estudio de competitividad turística del destino Oaxaca de Juárez, Instituto Politécnico Nacional, viewed 1 September 2020, <http://www.sectur.gob.mx/wp-content/uploads/2015/02/PDF-Oaxaca. pdf> SECTUR 2018, Indicadores de la actividad hotelera en el Estado de Oaxaca 2018, truistic Indicators of tourist activity, Oaxaca, viewed 2 September 2020, <http://www.sectur.oaxaca.gob.mx/wp-content/uploads/2019/03/ Actividad-turistica-2018-cierre-web.pdf> Instituto Nacional de los Pueblos Indígenas 2016, Atlas de los pueblos indígenas con mayor presencia en la entidad, Oaxaca, <http://atlas.inpi.gob.mx/?page_id=7225/> Digepo 2018, “Oaxaca Población siglo XXI”, Magazine Nueva Época, No. 41, viewed 5 September 2020, <http://www.digepo.oaxaca.gob.mx/recursos/revistas/revista42.pdf> SSN 2020, Sismos fuertes, Mexico earthcakes datasets, data file, Universidad Nacional Autónoma de México, México, viewed 1 September 2020, <http://www2.ssn.unam.mx:8080/sismos-fuertes/> Berumen, M, 2006, “Zonas de mayor Marginación y Pobreza” in geografía económica de oaxaca, Edumed, pp 45- 52, viewed 16 September 2020, <https://www.eumed.net/cursecon/libreria/mebb/marginacion_pobreza. html> SEDATU 2018, “Anatomía de la movilidad en México: Hacia dónde vamos”, Mexico Government, viewed 2 September 2020, <https://www.gob.mx/cms/uploads/attachment/file/411314/Anatom_a_de_la_movilidad_ en_M_xico.pdf> World Weather Online 2020, “Oaxaca Promedios climáticos mensuales“, World Weather Online, viewed 15 October 2020 <https://www.worldweatheronline.com/lang/es/oaxaca-weather-averages/oaxaca/mx.aspx>. Marsh A 2020, “Sun path”, Andrewmrsh App, viewed 15 October 2020 <http://andrewmarsh.com/apps/ releases/sunpath2d.html>. Meteoblue 2020, Climate Oaxaca City, Meteoblue, viewed 5 September 2020 <https://www.meteoblue.com/en/ weather/historyclimate/climatemodelled/oaxaca-city_mexico_3522507>. INEGI n.d., Información por endidad Oaxaca, Cuéntame INEGI, viewed September 2020 < http:// cuentame.inegi.org.mx/monografias/informacion/oax/territorio/clima.aspx?tema=me&e=20#:~:text=La%20 precipitaci%C3%B3n%20media%20estatal%20es,meses%20de%20junio%20a%20octubre >.
Precedents Brom Juan 2003, Esbozo de Historia de México, México, Grijalbo, p. 374. Quartesan A. 2010, “The Sustainability of Urban Heritage Preservation. The case of Oaxaca de Juarez”, Inter - American Development Bank, viewed September 2020, <https://publications.iadb.org/publications/english/ document/The-Sustainability-of-Urban-Heritage-Preservation-The-Case-of-Oaxaca-de-Juarez.pdf> Roxborough Development Corporation 2018, Roxborough Pocket Park <https://roxboroughpa.com/enjoythe-outdoors/roxborough-pocket-park> Sasaki 2014, “Tecnológico de Monterrey Urban Regeneration Plan”, Sasaki Associates, Inc., viewed 5 October 2020 <https://www.sasaki.com/projects/tecnologico-de-monterrey-urban-regeneration-plan/>. Etherington R 2008, “Taichung Gateway park by Stan Allen Architects”, dezeen, viewed 5 October 2020 <https://www.dezeen.com/2008/01/17/taichung-gateway-park-by-stan-allen-architects/>. WMUD 2000, “Clyde Corridor Regeneration Strategy” Willie Miller Urban Design + Planning, viewed 5 October 2020 < https://www.williemiller.com/clyde-corridor-regeneration-strategy.htm >. NACTO n.d. “The Urban Street Design Guide” Iseland Press, viewed 15 October 2020 <https://nacto.org/ publication/urban-street-design-guide/streets/boulevard/>. Tresmasdos 2020, HOTEL GRAND FIESTA AMERICANA, viewed September 2020,<http://tresmasdos. mx/hotel-oaxaca/> ArchDaily 2012, Centro Academico y Cultural San Pablo / Mauricio Rocha + Gabriela Carrillo, viewed September 2020,<https://www.plataformaarquitectura.cl/cl/783799/centro-academico-y-cultural-san-pablotaller-de-arquitectura-mauricio-rocha-plus-gabriela-carrillo> Steuteville, R. 2017, Great idea: Pedestrian shed and the 5-minute walk, Public Square a CNU Journal, viewed August 2020, <https://www.cnu.org/publicsquare/2017/02/07/great-idea-pedestrian-shed-and-5-minutewalk> Arch Daily 2018, Orchid Educational Pavilion / FGP Atelier, Instalaciones y estructuras Oaxaca, Mexico, viewed Sep 2020. <https://www.archdaily.mx/mx/891578/pabellon-educativo-de-la-orquidea-fgp-atelier> ISSN 0719-8914> Holmes, D. 2017, Global Street Design Guide, World landscape architect, viewed October 2020, <https:// worldlandscapearchitect.com/global-street-design-guide-launched-as-a-free-download/> ArchDaily 2013, Afghan Bazaar Cultural Precinct / HASSELL, Project gallery, viewed October 2020, <https:// www.archdaily.com/637568/afghan-bazaar-cultural-precinct-hassell> MUTABILIS n.d., MULHOUSE – Grand Centre 2014, Project associate Place de la Paix, viewed 2 October 2020 <https://mutabilis-paysage.com/projet-design/mulhouse-operation-mulhouse-grand-centre/>. Cázares, Gerardo 2020. “Architectural Classics: Central Library, Ciudad Universitaria / Juan O’Gorman”, 09 Jul 2020. ArchDaily, Accessed 5 Jun 2021. <https://www.archdaily.com/943125/architectural-classics-centrallibrary-ciudad-universitaria-juan-ogorman> ISSN 0719-8884>.
References Books and journals González, L. A. 2020, “Las zonas de monumentos históricos”, El patrimonio cultural INPAC, viewed September 2020, <https://www.oaxaca.gob.mx/inpac/wp-content/uploads/sites/17/2019/08/LAS-ZONASDE-MONUMENTOS-HIST%C3%93RICOS.pdf> Al-Jaberi et al. (2019) The idea of pedestrian pockets as a key for successful transit-oriented development for Najaf city-Republic of Iraq, IOP Conference Series, Materials Science and Engineering, viewed August 2020, <https://doi.org/10.1088/1757-899X/698/3/033029> Armato, F. 2017, Pocket Park: Product Urban design, The Design Journal: Design for Next: Proceedings of the 12th European Academy of Design Conference, Sapienza University of Rome, 12-14 April 2017, ISBN, viewed August 2020, <https://doi.org/10.1080/14606925.2017.1352705> NACTO n.d. “The Urban Street Design Guide” Iseland Press, viewed 15 October 2020 <https://nacto.org/ publication/urban-street-design-guide/streets/boulevard/>. Tallon, A. 2013, Urban regeneration in the uk. ProQuest Ebook Central, viewed September 2020, <https:// ebookcentral.proquest.com> Register, R. 2006, Ecocities: Rebuilding cities in balance with nature, eBook central ProQuest, viewed September 2020, <https://ebookcentral.proquest.com> Wates, N. 1978, Reviews: A future worth waiting for – ecotopia, The Architects’ Journal, viewed September 2020, <http://ezproxy.its.rmit.edu.au/login?url=https://search-proquest-com.ezproxy.lib.rmit.edu.au/ docview/1431333429?accountid=13552> Pohl, J., & Byland, B. (1990). Mixtec Landscape Perception and Archaeological Settlement Patterns, Ancient Mesoamerica, 1(1), 113-131. doi:10.1017/S0956536100000134. Secretaria de la cultura 2010, Geometrías de la imaginación e iconografía de Oaxaca, Dirección General de Culturas Populares, Indígenas y Urbanas, viewed 20 September 2020, <https://www. culturaspopulareseindigenas.gob.mx/pdf/2020/geometria/Geo%20OAXACA%20FINAL.pdf> Fahmel, B. 2013, “The “Heart of the Mountain” among the Postclassic Zapotec”, Anales de Antropología, Vol 47, Issue 1, PP 9-29 Fähmel B. 2005, “El paisaje sagrado del estado en Monte Albán Indiana” Ibero-Amerikanisches Institut Preußischer Kulturbesitz Berlin, Alemania, vol. 22, pp. 161-187, viewed in <https://www.redalyc.org/ pdf/2470/247018075009.pdf>
Quotes Buckminster R. n.d., Good reads, quote, viewed 20 September 2020 <https://www.brainyquote.com/ quotes/r_buckminster_fuller_297512>. Instituto Nacional de Lenguas Indígenas 2017, Frases en Mixteco de la costa de Oaxaca, Mexicanísimo, viewed 22 may 2021 <https://www.mexicanisimo.com.mx/frases-en-mixteco-de-la-costa-de-oaxaca-3/>. Jorge Agustín Nicolás Ruiz de Santayana n.d., javifields, viewed 11 June 2021 <http://javifields.blogspot. com/2007/01/quien-olvida-su-historia-est-condenado.html#:~:text=enero%2031%2C%202007-,Quien%20 olvida%20su%20historia%20est%C3%A1%20condenado%20a%20repetirla,jest%20na%20jej%20ponowne%20 prze%C5%BCycie.> Adigard, E. n.d., The meaning of design, viewed 11 June 2021 < https://protoio.medium.com/66-best-quotesabout-design-of-all-time-60adedc13677>
Plants sunashielizabeth (Sunashi Elizabeth Vázquez Arceo) 2021, Foto 115303210 (Primavera), Photograph, Naturalista, Copyright 2021 by Sunashi Elizabeth Vázquez Arceo, viewed 30 may 2021 <https://www.naturalista.mx/ photos/115303210>. Raymundomj (Ray Martinez Jimenez) 2018, Foto 14323608 (Maguey de Castilla), Photograph, Naturalista, Copyright 2018 by Ray Martinez Jimenez, viewed 30 may 2021 <https://www.naturalista.mx/ photos/14323608>. Lummerzheim 2020, Foto 78770715 (Pitahaya), Photograph, Naturalista, Copyright 2020 by Lummerzheim, viewed 30 may 2021 <https://www.naturalista.mx/photos/78770715>. Daniel T 2017, Foto 7535096 (Lechuguilla Mansa), Photograph, Naturalista, Copyright 2017 by danielt, viewed 30 may 2021 <https://www.naturalista.mx/photos/7535096>. Henry (mhenry5) 2018, Foto 28375063 (Palma Canaria), Photograph, Naturalista, Copyright 2018 by mhenry5, viewed 30 may 2018 <https://www.naturalista.mx/photos/28375063>. Bodofzt (Bodo) 2017, Foto 10343960 (Fresno), Photograph, Naturalista, Copyright 2017 by Bodo, viewed 30 may 2021 <https://www.inaturalist.org/photos/10343960>. Loscues16 (Los Cues) 2016, Foto 7405547 (Maguey Tobala), Photograph, Naturalista, Copyright 2016 by Los Cues, Bienes Comunales, viewed 30 may 2021 <https://www.naturalista.mx/photos/7405547>. Mstrecker (Manoli Strecker) 2019, Foto 46167333 (Izote Gigante), Photograph, Naturalista, Copyright 2016 by Manoli Strecker, viewed 30 may 2021 <https://www.naturalista.mx/photos/46167333>. Jesusnc25 (Jesus Niño C) 2018, Foto 28936185 (Sotol de la Sierra Madre Oriental), Photograph, Naturalista, Copyright 2018 by Jesus Niño C, viewed 30 may 2021 <https://www.naturalista.mx/photos/28936185>.
References Plants David (Davidhi) 2020, Foto 83156705, Photograph, Naturalista, Copyright 2020 by David, viewed 30 may 2021 < https://www.naturalista.mx/photos/83156705 >. Jujucal 2020, Foto 69305200, (c) jujucal, Photograph, Naturalista, Copyright 2020 by Jujucal, viewed 30 may 2021 <https://www.naturalista.mx/photos/69305200>. Ozman (OzmanZzano) 2019, Foto 83156705, Photograph, Naturalista, Copyright 2010 by Oz ManZzano, viewed 30 may 2021 < https://www.naturalista.mx/photos/35870544>. Nuevo 224 2015, Foto 2734053 (Nopal de la Cochinilla), Photograph, Naturalista, Copyright 2015 by Nuevo224, viewed 30 may 2021 < https://www.naturalista.mx/photos/83156705 >. Salejandre 2015, Foto 2600526 (Nopal de la Castilla), Photograph, Naturalista, Copyright 2015 by Salejandre, viewed 30 may 2021 < https://www.naturalista.mx/photos/83156705 >. Carlos_ugalde (José Carlos Ugalde) 2020, Foto 71639329 (Sábila), Photograph, Naturalista, Copyright 2020 by José Carlos Ugalde, viewed 30 may 2021 < https://www.naturalista.mx/photos/71639329 >. Sultana (Juan Manuel de Roux) 2018, Foto 20594599 (Melocactus curvispinus ssp.), Photograph, Naturalista, Copyright 2018 by Juan Manuel de Roux, viewed 30 may 2021 < https://www.naturalista.mx/photos/20594599 >. Najera_tutor (Pedro Nájera Quezada) 2016, Foto 2931118 (Biznaga Metzolle), Photograph, Naturalista, Copyright 2016 by Pedro Nájera Quezada, viewed 30 may 2021 < https://www.naturalista.mx/photos/2931118 >. Paula (Paula Andrea) 2019, Foto 49809655 (Jacaranda), Photograph, Naturalista, Copyright 2019 by Paula, viewed 30 may 2021 <https://www.naturalista.mx/photos/49809655>. sunashielizabeth (Sunashi Elizabeth Vázquez Arceo) 2021, Foto 115303210 (Primavera), Photograph, Naturalista, Copyright 2021 by Sunashi Elizabeth Vázquez Arceo, viewed 30 may 2021 < https://www.naturalista.mx/photos/115303210>. aztekium_tutor (Carlos Velazco) 2009, Foto 654566 (Chilayo), Photograph, Naturalista, Copyright 2009 by Carlos Velazco, viewed 30 may 2021 <https://www.naturalista.mx/photos/654566>. Reconociendo Mexico 2019, Foto 77363262 (Framboyan de Madagscar), Photograph, Naturalista, Copyright 2019 by Pedro Reconociendomexico, viewed 30 may 2021 <https://www.naturalista.mx/photos/77363262>. Eugenio (Eugenio Padilla) 2020, Foto 59738467 (Madre Cuish), Photograph, Naturalista, Copyright 2020 by Eugenio Padilla, viewed 30 may 2021 <https://www.naturalista.mx/photos/59738467>. Opuntia (Opuntia Cadereytensis) 2009, Foto 1358524 (Copal), Photograph, Naturalista, Copyright 2009 by Opuntia Cadereytensis, viewed 30 may 2021 <https://www.naturalista.mx/photos/1358524>. ug56bdi (Ulises Guzmán) 2004, Foto 10887547 (Nopal Crinado), Photograph, Naturalista, Copyright 2004 by Ulises Guzmán, viewed 30 may 2021 <https://www.naturalista.mx/photos/10887547>.
Others Ricardez M 2021, “Oaxaca sin Samaritana por segundo año consecutivo”,Photograph, Oro Noticias, 12 March, viewed 1 June 2021 < https://www.ororadio.com.mx/2021/03/oaxaca-sin-samaritana-por-segundo-ano-consecutivo/ >. Turimexico n.d., “Juego de Pelota en Atzompa” Turimexico, visited 1 October 2020 <https://www.turimexico. com/mexico-y-su-historia/atzompa/juego-de-pelota-en-atzompa/>. Frank, L, Clarke, S & Machorro, G 2014, “Los Chileros de Chila”, Tomzap, viewed 10 September 2021 <https://www.tomzap.com/chila_Gina.html>. Hernandez, D 2015, Tehuacan Landscape, Photograph, UNESCO, viewed 5 September 2020 <http://whc. unesco.org/en/documents/158051> Sandoval, L 2019, Yagul, Photograph, Picasa, viewed 30 May 2021 <https://goo.gl/maps/iXQKGbb7ZznmPT9E8>. Gogo 2005, “A Queen of the night in side Epiphyllum oxypetalum” Photograph, Wikimedia, viewed 30 May 2021 <https://es.wikipedia.org/wiki/Epiphyllum_oxypetalum#/media/Archivo:A_Queen_of_the_Night_in_ side.jpg>. Perez A 2012, Esto es Mexico, Photograph, Indice Politico, viewed 15 October 2020 < https://indicepolitico. com/suicida-presupuesto-egresos/esto-es-mexico/ >. Unknown n.d., Vista aérea de Oaxaca, Photograph, Mexico en fotos, viewed 15 October 2020 < https://www. mexicoenfotos.com/MX15703624630203>. Unknown n.d., Templo de Santo Domingo, Photograph, Mexico en fotos, viewed 15 October 2020 < https:// www.mexicoenfotos.com/MX15420779860060 >. Unknown n.d., Calle de la Libertad, Photograph, Mexico en fotos, viewed 15 October 2020 < https://www. mexicoenfotos.com/MX14524675810101>. Unknown n.d., Escena en La avenida Morelos despues del Sismo acaecido en 1931, Photograph, Mexico en fotos, viewed 15 October 2020 < https://www.mexicoenfotos.com/MX14726018621752 >. Unknown n.d., Sismo acaecido en 1931 Calle de Diaz Ordaz, Photograph, Mexico en fotos, viewed 15 October 2020 <https://www.mexicoenfotos.com/MX14680730708175 >. Kaldari 2016, Ethnobotanical Garden of Oaxaca, Photograph, Wikimedia, viewed 10 October 2020 <https:// commons.wikimedia.org/wiki/File:Jard%C3%ADn_Etnobot%C3%A1nico_de_Oaxaca_02.JPG>. Ramirez M 2015, Jardín Etnobótanico de Oaxaca , Photograph, Buo studio, viewed 10 October 2020 <http:// www.buoestudio.com/jardin-etnobotanico-de-oaxaca/>. Unknown n.d., Ejemplos de traducciones del diidxazá al español, inglés, francés y latín, viewed 10 October 2020 < http://www.biyubi.com/did_principal.html >.
References Others Unknown 2017, Centro Académico y Cultural San Pablo, Photogrph, coolhuntermx, viewed 10 October 2020 <https://coolhuntermx.com/arquitectura-junio-centro-cultural-san-pablo-oaxaca/>. Pereznieto S 2015, Centro Académico y Cultural San Pablo, Photograph, Pereznieto, viewed 10 October 2020 <https://pereznieto.com/project/centro-academico-y-cultural-san-pablo/>. Fernández S 2019, Centro Cultural San Pablo, Photograph, México es cultura, viewed 25 September 2020 <https://www.mexicoescultura.com/recinto/66764/centro-cultural-san-pablo.html>. Gran Fondo New York Inc.n.d., Actividades de Oaxaca,viewed 10 April 2021<https://oaxaca.gfny.com/ actividades/>. Briseño P 2017, “Museo Textil de Oaxaca, 9 años de exhibir legado artesanal”, Oro noticias, 22 September 2020 <https://www.ororadio.com.mx/2017/04/museo-textil-de-oaxaca-9-anos-de-exhibir-legado-artesanal>. Velasco J M 1016, Vista de la ciudad y valle grande de Oaxaca, oil on canvas, Wikiart, viewed 22 September 2020 <https://www.wikiart.org/en/jose-maria-velasco/vista-de-la-ciudad-y-valle-grande-de-oaxaca>. Meredith Corp. n.d., TRAVEL + LEISURE, logo, viewed 10 October 2020 <https://www.meredith.com/ brand/travelandleisure>. O’Rorke, G n.d., Gabriel O’Rorke, logo, viewed 10 October 2020 <https://www.gabrielororke.com/about/>. Unknown n.d., Oaxaca de Juarez, Photograph, Viator, viewed 30 May 2021 <https://www.viator.com/tours/ Oaxaca-City/Oaxaca-City-Sightseeing-Tour-Temple-of-Santo-Domingo-de-Guzman-Oaxaca-Regional-Museumand-Benito-Juarez-Market/d50491-6181OAXCITY> CONAVI 2021, “Inventario de vivienda a Marzo 32 del 2021”, SNIIV, viewed 11 June 2021 <https://sniiv. conavi.gob.mx/cubo/inventario_vivienda.aspx>. Torres, H. 2019, “Centro Histórico de Oaxaca se encuentra en riesgo.” El Imparcial (Oaxaca), viewed 11 June 2021 <http://imparcialoaxaca.mx/la-capital/314641/centro-historico-de-oaxaca-se-encuentra-en-riesgo/>.
Finally, I would like to thank my parents, my sisters and my partner who have supported me throughout this time and have always encouraged me to follow my dreams. Especially my sister Laura who has always inspired me with her ideas and ingenuity. In addition, I would like to thank my advisor Ha Thai who helped motivate me and always challenge me to create something better.