Lacustrine dreams of a dry city:

characters on México City, Luis Barragán and water

In 2021, a collaboration and faculty mobility agreement was signed between IUAV
Venice and ITESO Jesuit University of Guadalajara, with the aim of fostering cultural
exchange and knowledge generation in the field of architecture, specifically focused on
the works of Luis Barragán Morfín.

The present workshop represents the joint effort of two educational communities
to strengthen connections and come together to recognize diverse approaches
to architectural education. It is designed with the intention of sharing a small part
of the "Barraganiana" identity that has been an integral part of our school for 60
years. Furthermore, it aims to disseminate design methodologies and approaches to
architectural space, contributing to the construction of a better present.

With these goals in mind, professors Diego Orduño, Sarah Obregón, and Sandra
Valdés, are pleased to present this workshop as a cultural exchange platform, aiming
to bring back the WAVE experience to Mexico.

Thank you for welcoming us.

contents:
Lacustrine dreams of a dry city
Calendar
Víctims of México City, Luis Barragán and Water
Tipologys
Areas de int
The history of Mexico City and its lakes is one of a complex, conflicting,
tragic, and, in a certain sense, poetic relationship, whose characters,
situations, and places emerge from the most diverse and unexpected
conditions. This workshop proposes an approach to the tangle of events
that led to a city now inundated due to water scarcity, reimagining
its characters, situations, structures, and relationships based on the
methodology John Hejduk used for his Victims of Berlin project.

Upon the arrival of Europeans, the great Tenochtitlán was a city

surrounded by six lakes (each one of them a character in itself),
which merged during the rainy season to form the vast Lake Texcoco
(another character) that, at its peak, covered almost two thousand
square kilometers. After five hundred years, a city of over twenty
million inhabitants stands upon the traces of this grand lacustrine
system. The lacustrine landscape is now a memory, as the city sinks
and simultaneously faces water scarcity. We understand this great
contradiction through narration, history, and its characters, who for
centuries suffered the catastrophic consequences of floods, such as the
one in 1629, the San Mateo deluge (also an important character in the
story), when the city was submerged for five years after thirty-six hours
of continuous rainfall. Many characters have appeared throughout this
shattered relationship: the Chinampa, for example, a structure whose
invention allowed the inhabitants of Tenochtitlán to develop a complex
cultivation system along the lakes, or the Axolotl, a mystical amphibian,
part deity, part inhabitant of the lakes, which currently resides among the
few remaining Chinampas in the Xochimilco area and would not exist in
any other environment in the world.

In this history, there have been characters of all kinds, like Luis Barragán,
whose spaces such as the Patio de las Ollas, which temporarily floods,
the Cuadra San Cristóbal, or the Fuente de los Amantes, represent a
poetic approach to water, attempting to mend historical ruptures through
personal and cultural memory. Tlaloc, the Mexican god of rain, is another
character; the boats of Xochimilco; the channelized rivers of La Piedad,
Consulado, Magdalena; the abandoned airport in Lake Texcoco, or the
Vasconcelos Library, which is a grand ark of culture stranded in the
garden within the vast dry ocean that is Mexico City, are other characters
that help us understand the collective memory of Mexico City regarding
water through architectural structures. Certain historical figures are key,
for instance, the Grand Nochistongo Trench (a landscape and engineering
character), which was the first attempt to drain the city towards Hidalgo,
or the Ecatepec Embankment, a pre-Hispanic structure that protected the
city from floods (with the Spanish invasion and the destruction of these
structures, the city began to suffer more frequent inundations).

Drawing on the narrative and poetic approaches of John Hejduk’s

architectural project for constructing memory, we will project the victims
of historical, architectural, urban, and landscape characters who, together,
construct a complex, tragic, and poetic narrative of the relationship
between Mexico City and water.

Bibliography

Barragán, L. and Ugarte, R.A. (2021) A conversation with Luis Barragán. Guadalajara,
México: Arquitónica.

Hejduk, J. (1986) Victims. London: Architectual Association.

The workshop is divided in 4 parts: the first one is an introduction, with a couple
of lectures; the second one is the design of the victims; the third one is the inte-
gration of the victims into a park (in teams) and the last one is the model and
exhibition production.
This calendar will work as a guide to kwow what we will be developing each day.
At the end, as a workshop, we will have three islands (one per team) and two
victims per person.

***

Day Date Issue Job Deliverables

1 Monday 26/06/2023 0. TWO NARRATIVE APPROACHES TO Read/review the 1. Write a list of interests. 2. Define teams
ARCHITECTURE: LUIS BARRAGÁN AND JOHN Victims book and read
HEJDUK BARRAGÁN: narrative structure of the "Conversation with
architecture: biography, characters, itineraries and Luis Barragán" book.
transitions. THE VICTIMS OF HEJDUK narrative:
characters and memory. explain: the soloist, ferris
wheels, the conciliatory and 2 or 3 more that are clear.
1. INTRODUCTION TO THE WORKSHOP calendar,
deliverables, methodology

2 Tuesday 27/06/2023 2. A STORY OF MÉXICO CITY AND WATER From Research the list of 1. List of selected characters. 2. List of
the founding myth to the present. 3. VICTIMS FROM characters, familiarize characteristics to work on for each character. 3.
MEXICO CITY, LUIS BARRAGÁN AND WATER yourself with their A conceptual drawing for each character
Explain the Barraganian and CDMX characters with history, and decide architecturalizing the selected characteristics
whom we are going to work. which ones to work (free format).
with. If there is time,
start making concept
drawings
3 Wednesday 28/06/2023 4. TYPOLOGICAL EXAMPLES in that tone and with character design 1 1. Plant of character 1 2. Section of character 1 3.
those characteristics 1. The great theater of the world, Elevation of character 1 (Sketches are made in
Rossi 2. 120 doors, Pezo 3. Berlin Memorial, free size, and then the final drawing in 45x60)
Eisenmann 4. El Palomar, Barragán 5. Vara Pavilion,
Pezo 6. Less Pavilion, Pezo 7. Eiffel Tower, Eiffel 8.
Nameless Library, Whiteread 9. Wind Comb, Chillida
10. Folly (serpentine), Radic 11. Hortus (serpentine),
Zumthor 12. Bruther Klaus, Zumthor 13. Tempietto,
Bramante 14. Library UNAM WORKSHOP character
design

4 Thursday 29/06/2023 WORKSHOP character design Corrections to 1. Corrections to plan of character 1 2.

character 1 Corrections to section of character 1 3.
Corrections to elevation of character 1 (Work is
done on the drawings of the previous day and
then the final drawing is made in clean 45x60)
5 Friday 30/06/2023 WORKSHOP character design character design 2 1. Plant of character 2 2. Section of character 2 3.
Elevation of character 2 (Sketches are made in
free size, and then the final drawing in 45x60)

X Saturday 01/07/2023 free/adjustments to

characters 1 and 2
X Sunday 02/07/2023 free/adjustments to
characters 1 and 2
6 Monday 03/07/2023 WORKSHOP character design Corrections to 1. Corrections to plan of character 2 2.
character 2 Corrections to section of character 2 3.
Corrections to elevation of character 2 (We work
on the drawings of the previous day and then the
final drawing is made in clean 45x60)
7 Tuesday 04/07/2023 WORKSHOP character design Corrections to 1. Corrections to plan of character 1 and 2 2.
characters 1 and 2 Corrections to section of character 1 and 2 3.
Corrections to elevation of character 1 and 2
(Work is done on the drawings of the previous
day and then the final drawing is made in clean
45x60)
8 Wednesday 05/07/2023 5. THE SCALE OF THE PARK/MEMORIAL Proposal of 1. Point list how each character is related (at
(SANDRA) inverted logic, the void WORKSHOP park relationships between least to one other). 2. 60x90 conceptual drawing
design the characters of the master plan of the park taking into account
these relationships and intermediate spaces
(bodies of water?)
The first week will work as an introduction to two approaches to architecture from
literature: Luis Barragán´s narrative and John Hejduk´s Victims (poetry); but
also to México City and it´s broken relationship with water. From wednesday to
friday we will start working on the victims.
The second week will be working on the victims and the memorial parks.
The third week will be mostly to produce the models and the exhibition.

***

9 Thursday 06/07/2023 park design workshop Corrections to the 1. Corrections to that conceptual drawing of the
proposal of relations master plan. 2. At least 3 detailed drawings that
between the characters talk about the bodies of water/empties as
connectors between the characters.
10 Friday 07/07/2023 park design workshop Final drawings of the 1. A 60x90 sheet of the masterplan for each
park (and if it was island. 2. Have ready a plan, section and
missing, also of elevation of character 1. 3. Have ready a plan,
characters) section and elevation of character 2. 4. Have
ready the details of bodies of water/empty
spaces.
X Saturday 08/07/2023 free/have all drawings
ready/advance
mockups
X Sunday 09/07/2023 free/have all drawings
ready/advance
mockups
11 Monday 10/07/2023 6. LUIS BARRAGÁN (SARAH OBREGÓN) Production of models 1. Character model 1 (same scale as your plans)
CONFERENCE PRODUCTION OF SAMPLE models

12 Tuesday 11/07/2023 SAMPLE PRODUCTION models Production of models 1. Character model 2 (same scale as your plans)

13 Wednesday 12/07/2023 PRODUCTION OF SAMPLE museography museography 1. Park assembly progress

production
14 Thursday 13/07/2023 PRODUCTION OF SAMPLE museography museography 1. Model of the finished park. 2. Drawings
production mounted on the perimeter of the workshop.
15 Friday 14/07/2023 DELIVERY AND SAMPLES OF WORKS closing celebration closing celebration
HISTORY OF MÉXICO CITY AND WATER

1. Volcanoes and the formation of the Valley of Mexico and its lakes.
Situated in a fertile basin at an altitude of 2,200 meters above sea level,
the City of Mexico is located in the midst of the Tropic of Cancer. This
unique condition is the reason why it maintains a temperate climate
throughout the year, with a moderate rainfall regime (700 mm annually).
Various forests, ranging from conifers to cacti, plains, grasslands,
wetlands, and lakes, are distributed throughout the territory depending
on the topography and soil quality.

The southern part of the basin is more rugged with the Ajusco mountain,
the southeastern part with the great Popocatepetl and Iztaccihuatl
volcanoes, the northeastern part with the plains of Teotihuacan, and the
northeastern part with wetlands and lagoons in the center of the lower
elevation. Geology: In the center, at the lowest level, highly impermeable
volcanic ashes settled, and the lakes formed on top of them. Surrounding
them, the slopes of fractured volcanic rock allowed for the growth of
forests, and among them, the fertile floodplains.

The heaviest rains occur when the northeast winds push the clouds and
they break against the hills of Ajusco and the southern and southwestern
crosses.

2. Foundation of Tenochtitlan - Myth of the eagle on the nopal cactus

When the Mexicas arrived at Lake Texcoco, they saw an eagle standing
on a nopal cactus, devouring a serpent, and they decided that this image
was a powerful enough symbol to found Tenochtitlan there. The scene was
recorded in various codices, although in some, the eagle is eating a bird,
in another a fish, and in another, the eagle is not eating anything. This
story is obviously not true; it is a foundational myth, not only of a city but
of a people.

3. The flood of 1446

According to chronicles, abundant rainfall and hail fell in the year “seven
reed” (1446). The water level rose to the treetops, causing numerous
deaths. All the streets of the city were flooded, several houses were
destroyed, and people were forced to travel exclusively in canoes. The
disaster of the flood was followed by hunger because in the following
two years, the corn harvest was very scarce. In 1450, the harvest was
small due to a series of droughts and hailstorms, so by 1452, the need
 was “so great” in the towns of Anahuac that the upper classes opened
their granaries for the benefit of their vassals. Despite this, the people’s
diet consisted of waterfowl, marsh plants, roots, insects, and fish from the
lake itself.

4. Albarradón de Nezahualcóyotl, dique construido a petición de Moctezuma

en 1449.
The Emperor Moctezuma I, deeply concerned, sought advice from
Nezahualcoyotl, the ruler of Texcoco, and he advised the construction of
a causeway from what is now La Villa to Iztapalapa as a dike to protect
the city from future floods. Accepting the idea, it was put into execution
with the labor of the towns of Azcapotzalco, Coyoacan, Tlacopan,
Xochimilco, Iztapalapa, Culhuacan, and Tenayocan. Even the main nobles
of Tenochtitlan participated in the work. In the end, the dike measured
nine miles long and eleven brazas wide. With these works, the flood was
partially mitigated. From Atzacoalco to Iztapalapa.

5. How it was found at the arrival of the Europeans:

Tenochtitlan was founded in the lowest part of the Mexico basin, which
has always been the main cause of its vulnerability. Faced with recurrent
floods, the Mexicas developed systems to control the rising waters, such as
containment walls and aqueducts. With these implemented systems, they
were not only able to supply themselves with clean water for consumption
but also prevent flooding. The Spaniards, despite being aware of the
existing soil subsidence problems in Tenochtitlan, decided to establish
the capital of New Spain there for political reasons. In addition to the
geographical location, there were other changes that resulted in the rise
of water levels: environmental changes, deforestation, and the expansion
of crops that led to land erosion. All of these factors contributed to the
city’s repeated inundations.

6. Complex irrigation agriculture system:

a. Small systems: Mountain springs with boxes, canals, and ditches.
b. Larger systems: Permanent and semi-permanent rivers with
dams, large canals, and ditches.
c. Chinampas in the lagoon: acequias, albarradones, and drainage
systems, artificial soils, and canals.
d. Chinampas inland: artificial lakes and swamps.

7. Llegada de los españoles.

The siege of Tenochtitlan and the naval battles left the hydraulic system
of the lacustrine zone destroyed.Inundación de 1555 – Reconstrucción del
albarradón.

8. In 1555, Viceroy Luis de Velasco ordered the repair of the San Cristóbal
 dike, which likely had its origins in a pre-Hispanic causeway.
Following the major flood, the idea of completely draining the Valley of
Mexico emerged for the first time. This initial project was entrusted to
Francisco Gudiel, who not only proposed the general drainage of the
valley but also suggested utilizing its waters for irrigation purposes and
navigation. However, the plan did not work as expected, and in subsequent
years, flooding continued to occur.

9. In 1604, a significant flood occurred, and the viceroy, Marqués de

Montesclaros, entrusted the Franciscans with the task of repairing the
causeways and quickly building dikes to contain the emergency. This
took place in August of 1604.
The flood that occurred during this time was the largest since the fall of
Tenochtitlán. It was said that the Albarradón de San Lázaro was unable to
contain the water due to the continuous looting of its materials over time,
which resulted in its destruction. The Albarradón de San Cristóbal, also
known as the Albarradón de Ecatepec, is a hydraulic structure dating
back to the colonial period. It was built with the purpose of regulating
the waters of the Zumpango and Xaltocan lakes to prevent flooding in the
Valley of Mexico. It is the only remaining element of the hydraulic system
that controlled the waters of the lakes in the Valley of Mexico.

10. The flood of 1607 - Drainage Canal in Huehuetoca for draining Zumpango
Lake - 1607.
In November 1607, Viceroy Luis de Velasco ordered the construction
of a canal in Huehuetoca to drain Zumpango Lake and prevent floods.
Additionally, the Cuautitlán River would be intercepted and redirected
towards the Tula River. The viceroy entrusted the project to the
cosmographer and hydraulic engineer Enrico Martínez.

11. The deluge of San Mateo - September 1629.

The flooding of Mexico City in 1629 was an event that occurred starting
on September 21 of that year. It was caused by heavy rainfall that lasted
approximately 40 hours and resulted in the complete flooding of the city.
The water level reached a little over two meters, and the city remained
flooded for five years, from September 1629 until 1634. Out of the 20,000
Spanish families residing in the city at that time, only 400 remained.
Viceroy Rodrigo Pacheco y Osorio, the 3rd Marquis of Cerralbo,
implemented several measures not only to alleviate the situation but also
to prevent more people from leaving the city.

Wooden bridges were constructed to allow people to move from one

building to another. Canoes were also used for transportation within the
city. To prevent further collapse of houses, each homeowner was ordered
to build a sort of wall attached to their house to protect the foundations
from weakening. While these measures helped alleviate the situation, it
was also necessary to remove the water from the city. For this purpose,
the viceroy ordered the continuation of the construction of the drainage
 system in Huehuetoca. However, the canal was damaged by the flooding
after it was opened.

12. The construction of the Tajo de Nochistongo resumed between 1630 and
1637.
After the major flood in the Valley of Mexico, Enrico Martínez decided to
close the entrance to the drainage canal to prevent the large amount of
water from damaging the still unfinished construction. The floods were
considered among the worst the city had suffered. Martínez was accused
of negligence because his action contributed to allowing the floods to
affect the city, although he later regained his freedom as his help was
necessary to complete the canal. Later, Martínez proposed to continue the
construction of the open-cut Tajo de Nochistongo, an idea that was not
well-received but was implemented in 1637, seven years after his death.

13. The Great Drainage Canal and the Tequisquiac Cut that connects Texcoco
with Zumpango (consisting of a canal, a tunnel, and an outlet section) -
proposed in 1856, completion of works in 1894, and inauguration in 1900.
From 1856 onwards, more solid foundations were laid for a large-scale
drainage project proposed by engineer Francisco de Garay, the director
of Aguas del Valle, who suggested opening a major canal from Lake
Texcoco to the northwest region of Tequixquiac. These works would be
complemented by other canals to the south and east, which, in addition
to assisting with drainage, were envisioned as potential waterways for
trade. The construction efforts began during the final stage of resistance
against the French intervention and the reign of Maximilian of Habsburg.
Consequently, the defeat of the empire led to the suspension of the
works, and resuming the project became challenging due to the country’s
economic and political situation.
In 1881, construction activities for the Great Drainage Canal were
resumed due to its prioritized nature. However, faced with another
suspension due to a lack of resources, the decision was made to involve
private capital. Francisco de Garay was able to participate in this effort
but only as an advisor to the project until his death in 1896.

This new project involved the construction of a canal, a tunnel, and an

outlet section. By 1894, the first part of the tunnel had been completed.
On March 17, 1900, the 47-kilometer general drainage system was
inaugurated, stretching from San Lázaro to the Zumpango Lagoon in the
State of Mexico.

14. Luis Barragán is born – 1902.

Luis Barragán, poet of the agua.

15. The first potable water supply system is built, designed by engineer
Manuel Marroquín, which was constructed between 1905 and 1908.
The country’s Hydrographic Commission was responsible for mapping
water level profiles in different sections. Since 1900, this system has
 worked to prevent the magnitude of floods that used to occur in the capital.
Built between 1905 and 1908 under the supervision of engineer Manuel
Marroquín Rivera, the original system provided water to Mexico City
from the Xochimilco, Xitla, and Tlalpam springs through an aqueduct that
ran under what is now Canal de Miramontes and the avenues División
del Norte, Nuevo León, and Alfonso Reyes, reaching the La Condesa
Pumping Station. In the photograph from 1907 shown above, one of the
vents of the Xochimilco Aqueduct can be seen, of which there are still
some remaining examples along Nuevo León Avenue.

16. The 1925 flood

A few years after the inauguration of the Great Drainage Canal, it was
observed for the first time that differential subsidence caused the sewer
system to lose its slope.

17. Other Works of the first half of XXth Century

Expansions to the Grand Drainage Canal, the construction of collectors
and sewers, the new Tequisquiac tunnel, and the channelization of some
rivers.

18. The Hydrological Commission of the Valley of Mexico was created

in 1952, followed by the establishment of the General Directorate of
Hydraulic Works in 1953.
These organizations presented a general plan aimed at addressing land
subsidence, flooding, and water supply issues. However, it was not until
1959 that the solution to the problem was believed to be the implementation
of a deep drainage system. In the following years, research was conducted
to undertake the designated task, including potential routes, hydrological
and hydraulic studies, as well as geological analysis of stratigraphy and
seismic activity.

19. El Pedregal by Luis Barragán.

El Pedregal de Luis Barragán was a dream to build a new pact between
nature and human beings, at the foothills of the volcano (those that allowed,
thousands of years ago, the formation of the lacustrine system). In the
words of Bettina Cetto: in a desertic, rugged place, where there was not
a single house, Luis Barragán, in his fascination and audacity, visualizes
this landscape of Xitle volcano’s lava and wild flora, transformed into
splendid and enormous private gardens among the rocks, with houses that
satisfy the spirit.

20. The 1950 Flood - 1941 to 1955

Despite the work and efforts carried out to prevent flooding, between
1941 and 1951, the city experienced a series of recurrent and increasingly
severe floods. One of the most impactful was in 1950 when two-thirds of
the Mexico Valley was flooded with water and mud, resulting in the loss
 of five lives.

21. Deep Drainage System - Proposal 1959, construction starts 1967,

completion 1975.
Due to the constant floods in 1954, a solution based on tunnels to drain
rainwater was proposed, which is the deep drainage system of Mexico
City inaugurated in 1975.

***
VICTIMS OF MÉXICO CITY, LUIS BARRAGÁN AND WATER

01 - The Mystic - The Enclosed House

The mystic recalls his childhood in the countryside, now that he lives in
the city. When his family lost the estate, he had to move seeking a future.
Secularization and modern ideas forced him to build walls around his house
to practice religion in secret.

02 - The Reader - The Loft of the Library

The reader spent his childhood in a village, where he remembers the sloping
roofs, gutters, and channels running through the streets, turning it into a
complex drainage system during intense summer storms. He sought refuge
in the loft of his parents’ cabin. The library in his house now has a loft.

03 - The Solitary - The Dining Room

The solitary built a dining room with a single head and a window from which
he can see the garden. On the windowsill, he placed a pair of translucent
vases containing water, one green and the other blue. The water in the vases
acts as the heartbeat of time.

04 - The Solitary II - The Closed Studio

House with Great Walls
The Studio House avoided flooding thanks to its large walls.

05 - The Architect - The Water Basin in the Garden

The architect soon became disappointed with functionalist ideas. During
a trip to distant countries, he found a story, and in the story, he found a
garden, and in the garden, he found a water basin for horses. Since then, the
architect builds irrational stories, gardens, and water basins.
06 - The Architect II - The Horse Fountain
When the architect achieved certain recognition, he decided to delegate the
design of houses to the draftsman to exclusively and meticulously focus on
the design of each fountain.

07 - The Aesthete - The Monastery Fountain

The aesthete dedicated his life to building the same fountain over and over
again.

08 - The Real Estate Developer - The Artist’s House-Garden on the Volcano

The real estate developer spent many years building and selling functionalist
apartments in Mexico City. Throughout those years, he never abandoned
the dream of turning the great volcano into a garden and from that garden, a
new city of artists, philosophers, and poets. He dreamt of a new relationship
with nature.

09 - The Gardener - The Tree Stance

A few years ago, the gardener stayed up until dawn reflecting on the gardens
he had created: a beautiful garden is the permanent presence of nature, but
reduced to human proportions and at the service of man. The next morning,
he planted a small tree in his own garden and placed a sack on top of it to
push it towards the wall that separates the garden from his living area. The
tree grew with a strong inclination, with segments almost parallel to the
ground of the garden. As it grew a little more, he added another bag with
sand, and he continued doing so for years. The tree confronts the living
area.

10 - The Rancher - The Impluvium Patio

1. Noun (masculine and feminine) A person who manages or
administers a ranch (farm).
The rancher is the greatest connoisseur through empirical methods. He
enjoys working on earth movements to improve the runoff on the ranch.
At his house, he plays with diverting water from the water basin through
channels along the patio. When it rains, the tiles also pour water into that
basin and those channels.

11 - The Contemplator - Patio de las Ollas

The contemplator spends hours observing a patio that, on one side, has
a two-meter-deep water mirror (big enough for a person to fit inside),
and on the other side, a collection of pots. Every three days, the water
mirror, which was at the level of the stone floor of the patio, overflows to
completely flood it. These are the most exciting moments. The pots have
become stained with mud and rust over time.

12 - The Religious - The Rain Observatory

The religious person observes the rain from the living area as it falls onto
the garden through the cross-shaped window. They particularly enjoy the
splashing of the drops on the stone basins, which blur the reflection of the
garden.

13 - The Devotee - The Patio of San Francisco

The devotee pours water every morning into the bowl on the hands of the
stone sculpture of San Francisco, onto the stones of their garden patio. That
bowl has served as a drinking trough for birds and bees.

14 - The Silent - The Patio of the Silent

Silence is a hidden spring from which the waters of meaning can emerge
cleanly.

15 - The Fountain Builder - The House of the Fountain Builder

The fountain builder studied civil engineering and specialized in real estate
development, but he has always considered himself a fountain builder.
He is very perfectionistic; sometimes, he builds and demolishes fountains
up to 7 times, making adjustments to the proportions, the heights of the
waterfalls, and the materials.

16 - The Anthropologist - The House of the Anthropologist in Bali

The anthropologist is working on an ethnographic study of Bali Island to
demonstrate the cultural similarities between Bali and Mexican culture.
This greatly excited the Anthropologist’s Friend, who had speculated on
other occasions about the closeness between Eastern and Mexican cultures.

17 - The Archaeologist - The Albarradón at Ecatepec

The archaeologist reached the pinnacle of his career when he discovered
the Albarradón; with that structure, he proved that the city of Tenochtitlan
had sufficient infrastructure to prevent floods and that, upon the arrival of
the Spaniards (who had to demolish the embankments during the siege),
the city began to experience much more severe flooding.
Albarradón:
1. m. A saddle more hollow and high than the pack saddle, which is
placed on animals for riding.
2. m. A type of saddle, with a protruding knob and a high and turned-
up rear pommel, mainly used by bullfighters, horsemen, and
Andalusian peasants.
3. m. A hill or elevation located in low and swampy terrain, which
becomes an islet with the rising of the waters.

18 - The Traveler - Casbah (fortification, medina, or fortress)

A trip I took to Africa has been the most impressive journey of my life,
where I saw the constructions called casbahs in the northern Sahara
Desert, southern Morocco. It was what I found visually most connected to
the landscape, most linked to the people who live there, their clothing, the
atmosphere of the environment, even more connected to their own dances
and families. In other words, I found there the perfect integration of their
religion with the entire environment in which they live and the physical
things they touch.
19 - The Traveler’s Son - The Moroccan House
The Traveler’s Son grew up in a library filled with books about Eastern
cultures. He became familiar with their seas and canals through photographs.
The strongest impressions came from pictures of closed houses, with small
openings towards the outside to protect the interiors from the sun, built
with the very earth of the landscape from which they emerged. Traditional
houses from North Africa.

20 - The Artist - The Artist’s Interior Pool

The artist dedicates himself to colors. He is particularly interested in how
water distorts tones. During the last years of his life, he built a pool inside
his house. There is a pillar inside, painted in red, which is penetrated by
zenithal light at certain times of the day. The water transforms the space
and colors into time.

21 - The Florist - The Flower Arrangement Dining Room

The florist works as a domestic employee in the architect’s house. Every
day, she goes to the garden through the laundry room, picks some flowers,
and prepares an arrangement in a bowl of water to place it as the centerpiece
of the dining room. She does every day to ensure the flowers are fresh,
bridging the gap between the dining room and the garden.

22 - The Master Builder - The House with a Sea View

The Master Builder, a man from inland, after 87 years, condensed into a
hypnotic, straightforward, and striking phrase, facing the infinite power of
the ocean, in front of that other realm of mystery and unattainable portent:
“The sea, architect, observes one’s foolishness.” A long, vital wisdom in the
face of the unknown, the unheard-of: that man, faced with such evidence of
strength and enigma, can only accept with a smiling humility that presence
that surpasses him but somehow now delivers the profound joy of reconciled
and complete creation. It is not “one looks” at the sea; it is that the sea
“looks at one.” A key: the ocean not as a vastness to be observed, but as a
living and acting subject that has its effect, its most personal message that
comes through the centuries to each person.

23 - The Artisan - The Blown Glass Sphere Warehouse

The artisan learned to work with blown glass in the workshops of Tonalá.
He never liked making utilitarian objects, but neither hummingbirds,
flowers, nor pineapples. He dedicated his life to making translucent and
reflective spheres.

24 - The Artist II - The Experimental Museum

The Artist is a friend of The Architect. The Architect pushed him to create
some buildings as well, although deep down, the artist knew they were still
sculptures. He designed an experimental museum where no wall would be
orthogonal.

25 - The Nostalgic - The Sanctuary of Jupiter

After completing his studies, The Nostalgic took a trip to Europe to explore
the avant-garde movements in architecture and art. The avant-garde art
deeply moved him, while the avant-garde architecture saddened him
profoundly. On the French Mediterranean coast, he found, within a garden,
a sanctuary dedicated to Jupiter: in the center, a water mirror; on the sides,
two walkways covered by pergolas filled with vines; and as a finishing
touch, a small chapel with a façade composed of four columns and three
circular openings. The façade was reflected on the water mirror, doubling
the dimension of the place.

26 - The Horticulturist - The Horticulturist´s Nursery

The gardener exclusively cultivates flowers.

27 - The Engineer - The Albarradón at San Cristobal

The Engineer spent his childhood in a small town and later migrated to
the city to study engineering. He specialized in hydraulics. Instead of
dedicating his life to the study of large modern systems, he became obsessed
with barrages: their heaviness, monumentality, and the passage of time. He
discovered the religious vocation of engineering with the Albarradón at
San Cristobal, which actually has the typology of a chapel.

28 - The Street Vendor - The Mobile Kiosk

The Street Vendor’s workspace is the city, which he enjoys exploring while
pushing his mobile kiosk. During the 1951 flood, he had to adapt his mobile
kiosk to prevent it from getting flooded.

29 - The Plumber - The Plumber’s House

You forget that it exists
until one day suddenly,
in your own house or in the bathroom

of some old restaurant,

in a corner worn out by dampness and use,

you see it: the plumbing.

And you, educated by
newspapers and books,
in those pair of pipes
that run aligned
to establish connections

behind the stones,

one escorting the other
-taking long detours,

violent twists,
fingers of a large hand
always open

that gently governs us –

in all this, you touch,
you see the human work
(Morábito)

30 - The Librarian - The National Library

The Librarian works at the National Library: a great ark of culture, stranded
in a garden within the ocean that is Mexico City. Two large supports hold
the bookshelves without touching the ground. Inside, a suspended whale
skeleton serves as a reminder of water.

31 - The Priest - The Tlaloc Chapel

The Priest takes care of his baptismal font; for him, it is the center of the
chapel because it contains water.

32 - The Landscaper - The Enclosed Garden

The Landscaper has meticulously designed an intricate system of plants,
water features, pavements, fountains, and broken sculptures (forming a
constellation) in The Architect’s Enclosed Garden.

33 - The Fountain Drawer - The Fountain Drawing Studio

The Fountain Illustrator goes to the studio, where he meets with The
Architect, The Artist, The Real Estate Developer, and The Landscaper.
They give him instructions, and he illustrates fountains. The Fountain
Drawing Studio is covered by a single-sloped roof.

34 - The Alpine Artist - The Volcano Pavilion

The Alpine Artist had dreamt of a city of philosophers, artists, and poets
inside a volcano. He decided to take The Architect south, where they found
an ocean of volcanic rock.

35 - The Architect III - The Volcano Pool

The Architect built a pool among the stones of the volcano; the existing
ones with organic and broken shapes, the new ones with laminated and
reticulated cuts. Between them, a platform is situated, within which the pool
is located. Some terraces bridge the level differences. The Architect placed
a pipe with a waterfall next to it to give a sonic dimension to the ensemble.
The Architect believes that water gains relevance when it occupies spaces
that do not naturally belong to it.

36 - The Conceptual Artist - The Abstract Hortus

The Conceptual Artist discovered Maria´s paintings reading in the garden,
and became obsessed with the idea of the hortus conclusus. When he built
his house, he went up to the rooftop and raised the walls to three meters in
height to frame the view of the sky.

37 - The Idler - The Entrance Hall

The Idler placed a bench in the hallway of his house, facing a white wall.
Then he took a pencil and wrote:
Idleness is the art of gracefully and transcendently passing through time
and space. The space and time created by humans are more cultured to the
extent that they invite Idleness.
38 - The Axolotl - The Chinampa
A mystical amphibian, part deity, part inhabitant of the lakes; it lives among
the remaining chinampas in the Xochimilco area. According to legend,
Xólotl, Quetzalcóatl’s brother, wanted to avoid being sacrificed at all costs.
For this reason, this god of fire and lightning transformed himself into corn
and then into maguey to avoid being discovered. Despite these attempts,
they were not enough to go unnoticed, so he decided to take refuge in the
water, and that’s when he took on the forms of the axolotl. It is known
for retaining its larval features throughout its adult life. In other words,
this small animal maintains its tadpole-like dorsal fin throughout its entire
life. It also has a unique regeneration system. It has been observed that,
beyond reconstituting parts of its body, the axolotl can heal wounds in its
heart without leaving scars, thus obtaining a completely healthy organ. It
couldn’t exist in any other environment in the world.

39 - The Urban Farmer - The House on the Chinampa

After the great expansion of Mexico City, the farming areas were reduced
to the remaining chinampas between the canals of Xochimilco. The Urban
Farmer has his small chinampa where he lives and grows corn.

40 - The Cosmographer - The Nochistongo Tajo

The Cosmographer dedicated himself professionally to large hydraulic
engineering projects. In 1607, he initiated the project of the Nochistongo
Tajo to drain Lake Zumpango and prevent floodings. During the construction
works, in 1629, the city was flooded for five years. The Cosmographer
closed the Nochistongo Trench to prevent the works from being affected.
He was accused of negligence and imprisoned, but was later released
because he was needed to finish the project. The cosmographer died in
1930 and could not see its completion.

41 - The Guard of the Crooked Museum – The Crooked Museum

The Guard of the Crooked Museum has observed how the walls and roofs
of the museum have become crooked over the years due to the underground
gaps caused by the absence of water. The Crooked Museum has gain cracks
and reinforcements, attempting to prevent its collapse. It is an architectural
metaphor for memory.

42 - The Cook of the Crooked Restaurant - The Crooked Restaurant

The Cook of the Crooked Restaurant has observed how the walls and roofs
of the restaurant have become crooked over the years due to underground
gaps caused by the absence of water. Unlike the Crooked Museum, the
Crooked Restaurant lacks reinforcements. Some of the corridors and walls
have reached unexpected inclinations. Far from driving away diners,
it has become a place of interest and identity. The Chef of the Crooked
Restaurant takes pride in cooking there. It is an architectural metaphor for
social cohesion.

43 - The Priest of the Crooked Cathedral - The Crooked Cathedral

The Priest of the Crooked Cathedral has observed how the walls and roofs
of the museum have become crooked over the years due to underground
gaps caused by the absence of water. The lack of believers in recent years
has made it difficult to reinforce the structure, which is increasingly close
to collapse. It is an architectural metaphor for modernity.

44 - The Other Architect - The Patio at the National Museum

The Architect of the Museum built a large courtyard with a monumental
bronze column at its center, featuring a sculptural relief that indicates the
four cardinal points. At its core, the column contains a hydraulic system to
raise and drop water.

East. Along the eastern coast of Mexico, the Spanish ships of the Conquest
arrived. At the base, the pre-Hispanic past of Mexico is presented through
the eagle and the jaguar, which are symbols of day and night. Between
them, the sword of the Conquest and the rising sun appear. In the shaft, the
sword penetrates the roots of a ceiba tree, a Mayan symbol of the foundation
of towns, which opens at its upper section with two faces, an idol and a
Spanish person, constituting the main basis of our mestizaje. Above this
symbol, corresponding to the capital, the eagle rests, the national emblem
of today’s Mexico.

West. This projection towards the world begins from our western coasts,
with the expedition to the Philippine Islands. Above the pre-Hispanic
symbols at the base and based on the customary representation of the
firmness and breadth of that projection, a ceiba tree opens with a symbol
of nuclear fission. The capital is a man with outstretched arms and exposed
entrails, framed by two olive weapons and a dove, signifying a complete
dedication to peace.

North and South. The struggle of the Mexican people for their freedom. On
the north and south sides, three weapons that harm the body of the column
– Mexico – can be observed, corresponding to our three formative stages:
Independence, Reform, and Agrarian Revolution. The capital is crowned
by pre-Hispanic forms symbolizing the sky. The composition based on the
four cardinal points is connected to the steel beams that radially support
the monumental roof, contributing to the final impression of the universality
of Mexican culture.

Beneath the courtyard and the aforementioned structures lies another

world: 15,000 square meters adapted for educational services, workshops,
offices, laboratories, research spaces, almanacs, and annexes that, day by
day, for decades, have brought the venue to life.

45 - Tláloc - The Sanctuary of Tláloc

Tláloc was one of the deities that encompassed all of Mesoamerica. His
worship spread throughout much of the Central American territory. He was
adopted by the nomadic Aztecs (the name given to the Mexica when they
had just arrived in Aztlán) who settled in Lake Texcoco, assimilating him
as an agricultural deity. A mountain belonging to the Sierra Nevada bears
the name Tlalocatépetl (4,120 meters above sea level). At the summit, there
is a sanctuary dedicated to Tláloc.

46 - The Politician - The Great Drainage Canal

The Politician ordered The Engineer to construct a Great Drainage Canal

for the city just after winning his second elections. The Engineer dug a
large hole in the ground, built a grand canal, and drained the city. Now the
city lacks water and is sinking due to its absence.

47 - The Conqueror – Texcoco

Trench (The Begantines Dumping Ground)

It was a long trench, measuring half a league in length, twelve feet wide and
more, and at least two states deep; as much depth as necessary to equalize
with the weight of the water from the lagoon, and as wide as needed to
accommodate the ships. The trench was all lined with stakes and had a
rampart on top. It was guided by an irrigation ditch that the indigenous
people had. It took fifty days to build, and four hundred thousand men
worked on it, with eight thousand Texcoco Indians and their people working
on it each day. It was a remarkable feat worth remembering. (Gómara)

48 - The Bergantines Builder - The Shipbuilding Workshop

The Conqueror recognized the danger and ordered The Ship Builder to
quickly construct two Bergantines. They had two masts, a bowsprit, and
Latin sails, measuring 12 meters in length, 5 meters in beam, with a draft of
60 centimeters and a rise of 50 centimeters. They were propelled by sail and
oar, in addition to a falconet on the bow for firing, as well as crossbowmen
and musketeers on the sides. They were baptized on April 28, 1521.

49 - The Spanish - The Orchard and Garden (Water Tanks, Irrigation

Channels, and Canals)

The Spanish crossed through a dam from the Sierra de Santa Catalina to
Cerro de la Estrella and arrived at Ixtapalapa, at the foot of Lake Texcoco:
...we went to the orchard and garden, which was an amazing sight to see
and walk through. I couldn’t get enough of looking at the variety of trees
and the aromas each one had, the terraces filled with roses and flowers,
and many fruit trees and native roses, and a freshwater pond, and another
thing to behold: large canoes could enter the garden from the lake through
an opening they had made, without having to jump onto the land...

(Díaz del Castillo)

50 - The Lord of Tlatelolco - The Calzadas

The Conqueror reached the top of the pyramid of Tlatelolco and looked up:

...from there, we saw the three causeways that lead to Mexico City, the
one from Iztapalapa, which was the one we entered through... and the one
from Tacuba, which was the one we later fled through... and the one from
Tepeaquilla. And we saw the freshwater coming from Chapultepec, which
supplied the city, and on those three causeways, the bridges they had built
at intervals, through which the water from the lake entered and exited from
one side to another. And we saw in that great lake such a multitude of
canoes, some coming with provisions and others returning with goods and
merchandise. And we saw that in every house of that great city and all the
other cities that were built on the water, one could only pass from house to
house through drawbridges made of wood or in canoes...

(Díaz del Castillo)

51 - The Lord of Texcoco - The Great Acequia

The Lord of Texcoco ordered the widening and opening of trenches to

expand the acequias so that large ships could navigate through them.

52 - The Salt Bread Merchant - The Salt Bakery

The Salt Merchant obtains salt from the water of Lake Temixtitan and from
the surface that surrounds the lake. They cook it in a certain way that allows
them to make salt bread for their trade. Temixtitan is founded in the middle
of the lake. The causeway that connects Temixtitan with Mexico City is
interrupted by others that lead to solid ground. At the intersection of each
causeway, there is a bulwark.

53 - The Wooden Bridge Beam Builder - The Wooden Beam Workshop

...near the city, there is a wooden bridge that is ten paces wide, and the
causeway is opened there to allow the water to enter and exit because it rises
and falls. The strength of the city is also maintained by adding or removing
some very long and wide beams that the bridge is made of whenever they
want. And there are many of these beams throughout the city.

(Cortés)

54 - The Other Great Lord (Haculuacán) - The House of the Other Great
Lord (Coyoacán)

The Other Great Lord of a very large city near this salt lake inhabited
a very noble house near the lakeshore, which is built in such a way that
canoes navigate beneath it and reach the said lake.

(Cortés)

55 - The Governor of Zumpango – Tzompantli

Zumpango is a Spanish adaptation of the Nahuatl word “Tsompanko,”

which is composed of the expression “Tsompantli,” meaning “Row of
Skulls,” and “-ko,” which denotes a place or space occupied, so it means
“Place of the tzompantli.” A notable event that occurred around 1216 was
when The Governor of Zumpango welcomed the migrating Mexica people,
who, grateful for his kindness, offered the beautiful maiden Tlacapatzin in
marriage to his son Iluicaltl. From that union, years later, the first Huey
Tlahtoani of the great Mexico Tenochtitlán emerged.

56 - The Engineer - The Flooded House

During the downpour of San Mateo (1629), the engineer’s house was
flooded. In the first few weeks, they evacuated the house, but after a few
months, they realized that the water would not recede soon. The Engineer
made some adaptations to live with the water. The initial ones were very
improvised, but after a couple of years, it was clear that they had seamlessly
integrated into the house. Some scaffolding, certain interior channels, and
a couple of spaces that controlled different water levels within the house.
The house remained flooded for five years.

57 - The Trajinera Conductor - The Trajinera Dock

There are few chinampas and canals left, but they have gained fame among
visitors to the city. The Trajinera Conductor dedicates themselves to taking
visitors on rides through the canals of Xochimilco on their trajinera.

58 - The Modern Architect - The Abandoned Airport

The Modern Architect has made many attempts to build the new airport in
the area of Lake Texcoco. The intention is to re-flood the 12,000 hectares of
mostly barren, salty land that still remain free of Lake Texcoco.

59 - The Balloon Vendor - The Alameda Kiosk

The Balloon Vendor sells his balloons near the Alameda Kiosk. He is not
allowed inside the kiosk except when it rains (although, due to the height,
they would be very far from their customers inside anyway). On sunny
days, they set up next to the kiosk, and as the day and sun progress, the
Balloon Vendor moves around half the circumference of the kiosk to take
advantage of the shade.

60 - El Virrey - The Virrey´s House

The Virrey´s House in Huehuetoca is a historic property. This mansion has

a direct relationship with the drainage works of the Nochistongo tunnel
and trench. It was commissioned by the viceroy, and its first construction
was due to the Cosmographer. It has been expanded and modified over
centuries. Its purpose was to accommodate viceroys and important figures
who made inspection visits to the drainage works:

Firstly, a portal with twelve arches in front facing the west, and two on the
sides and a tower at each end.

61 - The Acequias Blinder - The Acequia

After the siege of Mexico ended, they did not open the waterways as they
used to be, but instead, they built on the dry ground. And this was not the
usual practice of Mexico, and even the lake has been shrinking since the
year 24 until now, and sometimes there is a stench.

(Gómara)

62 - The Messenger of Iztapalapa - The Calzada

From Iztapalapa to Mexico City, there are two leagues along a very wide
calzada, where eight horses can comfortably ride side by side, and it is as
straight as if made level... On the sides of it, there are Mexicalcingo, which
has nearly four thousand houses, all surrounded by water; Coyoacán, with
six thousand houses, and Uicilpuchtli, with five thousand. (Gómara)

63 - The Salt Merchant - The Salt House They extract water from the salty
lake through channels to earthen holes, where it solidifies. They shape it
into balls and loaves of salt, and also cook it. These cities have a great
trade in salt because they produce and sell it there, or take it to fairs and
markets. (Gómara)

64 - The Spanish Priest - The Church-House

There was a belief that the heavy rains were a punishment for the sins of
the city. It was accepted that masses be held on rooftops or balconies so that
people could hear them from their homes.
65 - The Marquis of Cerralbo - The Bridge Between Houses

With the city flooded, the Marquis ordered the construction of wooden
bridges to allow people to cross from one building to another. Canoes were
also used for transportation within the city.

66 - The Aqueduct Cleaner - The Aqueduct over the Calzada

The Aqueduct runs over the Mexico-Chapultepec causeway. It is a double

aqueduct because, at regular intervals, one of the ducts is closed to renew
the other. The City, surrounded by saltwater, obtains freshwater through
this double aqueduct, which is connected to fountains.

***
Instructions for the Assembly of the Memorial Park:
For the second part of the workshop, three zones were selected.

Three emblematic areas of Mexico City were selected for the memorial
park, each linked to its history, its relationship with water, and the
“barraganian” identity. These three spaces are unique in terms of
temporality, landscape, and the complexity of their current history:

1. The Zócalo: This is the place where the city was founded and
represents the national symbol of the Mexican eagle devouring
a snake on a cactus, symbolizing the heart of the country. This
site encompasses all the historical layers of Mexico, from its
foundation to the complexity of the contemporary metropolis.

2. Xochimilco: This area consists of Chinampas, where people

reclaimed land for cultivation from the water through an artificial
farming system. These floating agricultural plots create a unique
agricultural landscape.

3. El Pedregal: This volcanic area has challenging topography and a

rugged landscape. Architect Luis Barragán chose this distinctive
landscape for urbanization. In this area, architect Mario Pani
developed the plan for Ciudad Universitaria, and part of the city
was built among black and porous rocks, preserving this unique
landscape.

Within a 250-meter radius, the chosen areas are clustered around the
Zócalo, with the intention of transferring the scale of the heart of the city
to these unique landscapes in Mexico City.

To integrate the memorial, the victims previously adopted a typology in

their architectural program, which will be the key element for anchoring
in the location. These typologies represent various ways of relating to
the interior space while establishing connections to the public or exterior
space to establish a system of relationships.

The typologies are as follows:

• Tower
• Building/House
• Sets of 4 classrooms
• Courtyard-Terrace-Garden-Pavilion
 • Kiosk
• Wall/Path
• Retaining barriers/Embattlement
• Staircase
• Lighthouse

These typologies will serve as the foundation for the assembly of the
memorial park, creating a meaningful connection between the chosen
landscapes and the victims’ architectural program.

Drawing inspiration from Kevin Lynch’s methodology for city

interpretation, each element can be translated into Lynch’s elements:

1. The Tower: This element represents a landmark and can also serve
as a central feature in a node at the intersection of two paths.

2. The Building/House: This element acts as a focal point in the

urban landscape, providing a space for living and dwelling.
Multiple buildings can come together to form a setting, serving as
places for gathering and permanence.

3. Sets of Classrooms: The accumulation of several classrooms

forms a building, which also acts as stopping points and meeting
places. Depending on their designated use, they can have varying
durations of occupancy.

4. Courtyard-Terrace-Garden-Pavilion: This space serves as a

community gathering area, capable of accommodating large
groups of people. It can also be designed as an ensemble,
integrating with the buildings to form a setting.

5. Kiosk: The kiosk functions as a node, landmark, and meeting

point. Its purpose is to convene and can be utilized by groups
of people. It is closely linked to the Courtyard-Terrace-Garden-
Pavilion, the Plaza, and the pathways.

6. Wall/Path: The wall/path acts as a linear connecting element,

with a focus on connectivity rather than segregation. It serves as a
connector and facilitates mobility.

7. Retaining Barrier/Embattlement: This elongated structure

sometimes resembles a wall and at other times a building/house.
 Its elongated profile characterizes it as a connecting element,
and it can also be used to separate or connect different areas,
depending on its design with transparent sections and openings. It
has a dual character as both a connecting element and a space for
dwelling, depending on the proposed uses in its program.

8. Staircase: The staircase serves as a connecting element, bridging

spaces at different levels. It can also act as a stopping point or a
place for dwelling, as the steps can function as seating and create
an excellent gathering space. Similar to the retaining barrier, the
staircase has a dual character as both a building and a connecting
element.

9. Lighthouse: The lighthouse is a landmark and a place for dwelling.

It serves as the house of the observer and provides a vantage point
for observation. If placed between pathways, it can also function
as a node.

These elements, translated into Lynch’s terminology, contribute to the

methodology for the assembly of the memorial park, creating meaningful
connections and spaces within the selected areas inspired by the history
and identity of Mexico City.

In the second part of the workshop, we will discuss the integration of the
memorial park through the use of a methodology that links two scales: the
architectural and the urban.

For this purpose, the following methodology will be proposed:

1. Architectural Scale Analysis:

o Detailed study of each architectural element of the

memorial, such as towers, buildings, classrooms,
courtyards, kiosks, walls, retaining barriers, staircases, and
lighthouses.

o Evaluate the relationship of each element with the

immediate surroundings and its function within the overall
context of the memorial park.

o Consider aesthetics, materials, proportions, and spatial

characteristics of each element to achieve coherence and
 harmony in the design.

2. Urban Scale Analysis:

o Examine the relationship of the memorial elements with

the surrounding urban environment, such as the Zócalo,
Xochimilco, and El Pedregal.

o Identify points of connection and flow between the

memorial elements and their urban surroundings.

o Evaluate how the memorial elements can interact with

the existing urban landscape and enrich the identity and
meaning of the place.

3. Integration of Scales:

o Identify points of convergence between the architectural

and urban scales.

o Design transitional elements that link the different scales

and provide a seamless experience for visitors.

o Consider how the architectural elements relate to public

spaces and surrounding urban landscapes.

o Explore opportunities for the memorial elements to

become landmarks or points of reference within the
broader urban context.

4. Coherence and Meaning:

o Seek conceptual and aesthetic coherence between the

architectural elements and their integration into the urban
environment.

o Consider the narrative and symbolic meaning of each

element in relation to the history and identity of the
selected areas.

o Aim to create an emotional and reflective experience for

visitors through the integration of the architectural and
urban scales.
 5. Iteration and Feedback:

o Continuously review the design and seek feedback from

experts and potential users of the memorial park.

o Make adjustments and improvements based on the

received feedback to ensure an effective integration of the
architectural and urban scales.

The proposed methodology aims to achieve a harmonious integration

of the memorial park by linking the architectural scale of individual
elements with the urban scale of the surrounding environment. This
will create a meaningful and cohesive space that honors the history and
identity of the selected emblematic areas of Mexico City.
Each one of the three islands will follow
the next system for the assembly of the
memorial park:
System for the assembly of the memorial park:
Within a radius of 250 meters
(Within a radius of 250 meters)
2 Towers
2 Towers 4 Buildings/Houses
4 Buildings/Houses 2 Sets of 4 classrooms
2 Sets of 4 classrooms 2 Courtyard-Terrace-Garden-Pavilion
2 Kiosks
2 Courtyard-Terrace-Garden-Pavilion
2 Kiosks 6 Walls/Paths
2 Retaining barriers
6 Walls/Paths
1 Staircase
2 Retaining barriers 1 Lighthouse
1 Staircase
1 Lighthouse
 Aula

6x6

6 h.

x4 módulos

Casa/Edificio

12x12 12 h
Barreras de contención, albarradón o calzada
6-12h-+

10x90+
 Faro/Observatorio/Mirador

12x12

24h+

Kiosko

16h.

16x16
Muro, camino, canal de comunicación
x3-4 módulos
12x.30
6h+
 Plaza

35x35 20h+

Torre

24 h +
12x12
 Terraza, patio, jardín, pabellón
35x35

6h+
The plots for the parks will be in three different and very symbolic parts of México
City´s landscape:
1. Xochimilco. The remaining lake and chinampas in the contemporary city.
2. El Pedregal. The poetic utopia of Luis Barragán to reinstall a genuine relation-
ship between humans and landscape.
3. El Zócalo. The urban and civic centre of México City.

El Zócalo

El Pedregal
Xochimilco
Xochimilco
The famous canals of Xochimilco, the last remnants of the extensive transportation
system created by the Aztecs, are located in the southern part of Mexico City, alongside a
hardworking working-class neighborhood.

El Pedregal
In a desert-like, rugged place where there wasn’t a single house, Luis Barragán, in his
fascination and audacity, envisioned this landscape of Xitle volcano’s lava and wild flora
transformed into splendid and vast private gardens among the rocks.
El Zócalo
The Zocalo is the main square of Mexico City, a vast and arid public plaza of 46,800
square meters of concrete. Since the Mesoamerican era, it has been the site of significant
events throughout Mexico’s history, as well as a gathering place for social and cultural
manifestations. Beyond being the seat of political, economic, and religious power in
Mexico, the Zocalo is also a space where indigenous, viceregal and modern pasts
intertwine with the contemporary.