Table Of ContentDoris Heyden and Paul Gendrop
RE-COLUMBIAN
ARCHITECTURE
OFMESOAMERICA
Trr^YTf^rmrrtT'fYmmrfjrr^^
^re-Columbian Ai esoamerica ex-
piores one of the ' .&tic regions in the
world. With hur ^ Mtions, maps, dia-
I
grams, and rec ^tt surveys the great
architectural a« I J of Mesoamerica from
its beginnings ' classic Olmec civilization
of about 120/ 00 B.C. to the time of the
00
Spanish Conquest. Settling first on the site of San
Lorenzo in the Mexican state of Veracruz, the vO
; 03
Olmecs created the oldest ceremonial center in COO
Mesoamerica. Its remains—colossal, monolithic ;L O
heads with Negroid features—are famous to this
day. Other important Pre-Classic sites in Mexico
are La Venta in Tabasco and Dainzu in Oaxaca,
n
where delicate bas-reliefs have been found.
The Classic period that followed is dominated
by the vast ceremonial center of Teotihuacan in
the central plateau of Mexico, notable for the
Pyramid of QuetzalcoatI, the Citadel, the Avenue
of the Dead, the Pyramids of the Sun and Moon,
and the Palace of the Quetzalpapalotl. Perhaps
the most magnificent Classic contributions to ar-
chitectural history were made by the ancient
Maya, whose monuments remain at Tikal, Piedras
Negras, Palenque, Quintana Roo, and Xpuhil,
among others. Elaborately carved roof-combs,
acropolises, ball-court markers, ''Mayan" arches,
twin- and triple-complexes, calendar stones, re-
liefs on altars and stelae—these are ^he highlights
of Mayan architectural genius.
Finally, the Post-Classic architectural treasures
in central Mexico are discussed—with emphasis on
those in Tula, Xochicaico, Tenayuca, and Tenoch-
titlan (with its renowned Temple of QuetzalcoatI).
Also, Cholula, MitIa, Tulum, and Chichen Itza,
with its huge Post-Classic Mayan complex, are
explored.
Pre-Co/umb/an Architecture of Mesoamerica is
part of the History of World Architecture series,
which Is published under the general editorship of
Pier Luigi Nervi. This volume was written by Doris
Heyden and Paul Gendrop, both outstanding au-
thorities in their field. Miss Heyden is Director of
the Teotihuacan Hall at the Museo Nacional de
Antropologfa in Mexico City and a member of the
Centro de investigaciones Superiores del Instituto
Nacional de Antropologia e Historic. Professor
Gendrop is a member of the faculty of the Escuela
National de Arquitectura of the Universidad Na-
cional Aut6n«>"-^\a de Mexico.
Synop*' s, notes, and a selected bibliogra-
phy augrfi ""xts and illustrations.
Is 363 ii.' 'sfra v hdrng mafjs, diagrams, and
reconstruci'/o
\
HmnfiRniiuaiiiiunBsmniiiiinnmBiinunnniiuiHioiinnrMBI
OF WORLD
HISTORY
ARCHITECTURE
Pier Luigi Nervi, General Editor
PRE-COLUMBIAN
ARCHITECTURE
MESOAMERICA
OF
Doris Hcydai and Paul Gcudwp
Translated byJudith Stanton
Harry N. Ahranis, Inc., Publishers, New York
Scries Coordinator: Ciuscppc Positano dc Viiiccntiis
Ihoihicai miiicr rise supervision of Carlo Pirovauo,
cdiloriiil(Hrccior oj Electa Hditrice
Dcsif^n: Die\;o Birelli, ar< director oj Electa Hditrice
Plwrfl{^rapli<: Paul Geiidrop and Doris Heydeii
Draiiiiiif^s: Studio of Eu:o Di Gra:ia
Library ofCongress Cataloging in Publication Data
Hcydcn, Doris.
Fre-C'okniibian architecture ofMesoanierica
(History ofworld architecture)
Translation ofArchitettura mesoaniericana.
Bibliography: p.
Includes index.
1. Indians ofMexico—Architecture. 2. Indians
ofCentral America—Architecture. ?>. Mexico—Antiq-
uities. 4. Central Anienca—Antiquities, i. Cen-
drop, Paul,joint author. II. Title.
F1219.3.A6.H4913 720'.972 75-8993
ISBN 0-8109-1048-7
Library ofCongress Catalogue Card Number: 75-8993
©
Copyright 1973 in Italy by Electa Editricc, Milan
Published by Harry N. Abranis, Incorporated, New York, 1975
All rights reserved. No part ofthe contents ofthis book may be
reproduced without the written permission ot the publishers
i'rintcd and bound inJapan
,
PREFACE
Architectural criticism has nearly always been concerned with the visible aspect of individual buildings, taking this to be the decisive
factor in theformulation ofvaluejudgments and in the classification ofthose "styles" which appear in textbooks, and which have thus become
common knowledge. But once it is recognized that every building is, by definition, a work subject to the limitations imposed by the materials
and building techniques at hand, and that every building must prove its stability, as well as its capacity to endure and serve the needs it was
builtfor, it becomes clear that the aesthetic aspect alone is inadequate when we come to appraise a creative activity, dijficult enough to judge in
the past, rapidly becoming more complex in our own day, and destined to become more so in theforeseeablefuture.
Nevertheless, what has struck me most, on studying the architecture ofthepast andpresent, is thefact that the works which are generally
regarded by the aitics and thegeneralpublic as examples ofpure beauty are also thefruit ofexemplary building techniques, once one has taken
into account the quality oj the materials and the technical knowledge available. And it is natural to suspect that such a coincidence is not entirely
casual.
Building in thepast was wholly a matter offollowing static intuitions, which were, in turn, the result ofmeditation, experience, and above
all ofan understanding ofthe capacity ofcertain structures and materials to resist externalforces. Meditation upon structural patterns and the
characteristics ofvarious materials, together with the appraisal ofone's own experiences and those ofothers, is an act oflove toward the process
ofconstructionfor its own sake, both on the part ofthe architect and his collaborators and assistants. Indeed, we may wonder whether this is
not the hidden bond which unites the appearance and substance oj thefinest buildings ofthe past, distant though thatpast may be, into a single
"thing ofbeauty."
One might even think that the quality ofthe materials available not only determined architectural patterns but also the decorative detail
with which thefirst simple construction wasgradually enriched. —
One mightfind ajustificationfor the difference in refinement and elegance —between Greek architecture, with its basic use ofmarble a
highly resistant material, upon which the most delicate carvings can be carried out and the majestic concrete structures ofRoman architecture
built out ofa mixture oflime andpozzolana, andsupported by massive walls, to compensatefor their intrinsic weaknesses.
Would it be too rash to connect these objective architectural characteristics with the different artisticsensibilities ofthe twopeoples?
One must recognize, therefore, the importance ofcompleting the description of the examples illustrated with an interpretation oftheir
constructional and aesthetic characteristics, so that the connection between the twin aspects ofbuilding emerges as a natural, logical consequence.
This consequence, ifunderstood and accepted in goodfaith by certain avant-garde circles, could put an end to the disastrous haste with
which our architecture is rushing toward an empty, costly, and at times impracticalformalism. It might also recall architects and men ofculture
to a more serene appraisal ofthe objective elements ofbuilding and to the respect that is due to a morality ofarchitecture. For this is just as
importantfor thefuture ofour cities as is morality, understood as a rule oflife,for an orderly civil existence.
Pier Luigi Nervi
TABLE OF CONTENTS
PREFACE by Pier Luigi Nervi 5
CHAPTER ONE
The Background 9
TWO
CHAPTER
Pre-Classic Mesoamerica 13
CHAPTER THREE
The Classic World: Central Plateau of Mexico 26
CHAPTER FOUR
The Classic World: Cholula, El Tajin, Oaxaca 55
CHAPTER FIVE
The Classic World: Maya Civilization 92
CHAPTER SIX
The Post-Classic Period in Central Mexico 222
CHAPTER SEVEN
The Post-Classic Period in Other Regions 262
NOTES 314
SYNOPTIC TABLES 318
SELECTED BIBLIOGRAPHY 320
INDEX 325
LIST OF PLATES 330
PHOTOGRAPHIC CREDITS 336
