THE PYRAMID AND COMPLEX OF DJOSER IN SAQQARA

ESPAÑOL

The Step Pyramid of Djoser at Saqqara is the first monument built in stone in the history of humanity and the one that determined the development of future Egyptian pyramids throughout different dynasties. Envisioned and carried out by the great architect, philosopher and physician Imhotep, the complex at Saqqara not only took a giant leap in the development of Egyptian funerary architecture but also (a fact less known) he experimented with an item that would have a huge impact on Egyptian as well as Greco-Roman architecture : the bearing column.

LOCATION

One of the most significant aspects of the Saqqara complex is its location, West of Memphis, the Pharaonic capital and about 7 kms from the Nile River. It is important to stress that Saqqara, like Giza, were not inhabited settlements: they were cities for the dead . The location on  the West is related to the direction of the sunset, a representation of death and the point where the sun touches the earth. The Saqqara plateau was ideal for this purpose, its height protected it from the floods of the Nile, as well as due to the desert character of the landscape, in contrast to the lively one in the capital Memphis. Even today it is clear that abrupt separation between the crops and arid surroundings of the funerary complex. Both the overall layout of the complex as well as the details of many of its individual buildings can be explained as the secular translation of residential architecture in Memphis to stone funerary architecture in Saqqara.

THE MASTABAS

Prior to Djoser, the tombs of the nobles and dignitaries were mastabas (Arabic word that means "benches" given their trapezoidal shape), which were stone  equivalents to the adobe houses of the cities. Structures were rectangular and of slightly sloping walls, flat ceiling and with a single entry. Once the sarcophagus and the treasures of the deceased were placed in an inner room called serdab the door was sealed and covered with rocks and sand.

THE STEP PYRAMID

The pyramid shape was not planned from the beginning. Initially just a mastaba was developed, as it was the tradition. It is said that Djoser was very disappointed to see the stature of his grave and demanded to be built higher. Thus, the great architect Imhotep came with the solution of to creating a platform above the first mastaba, then another, and another, until a total of 6. Prior to increase the height he was also expanding the  mastabas at the bottom, until covering an area of 125 x 109 meters a base. These additions became evident after the collapse of part of the southern wall thus revealing its internal structure.

Of course, neither Djoser nor anyone would have noticed this puzzle-like solution, as the limestone blocks that made up the platforms of the pyramid were covered with granite, giving stylistic unity and homogeneity to the monument.

I can imagine the joy of Djoser when he saw his tomb completed around 2650 BC.  With its 62 meters it was not only much higher than any previous tomb, but its step form stimulated the idea of ​​ascension into heaven and the connection with the afterlife. Moreover, the pyramid meant the realization of two paradigmatic Ancient  Kingdom funerary styles: the house type and the type burial mound, which were typical of the settlements of Upper and Lower Egypt respectively. When combined in the pyramid, the architecture of the royal tomb became a symbol of the two components of the Egyptian state. In addition to its impressive size, the pyramid contained a maze of passages and an innovative system for the grave could support the weight of such a huge structure.

THE COMPLEX OF DJOSER

The royal funerary complex is surrounded by a niched wall, enclosing a huge compound of 277 x 544 meters, which is an imitation of the mud-brick wall that surrounded the residence of Pharaoh in Memphis, the aim being to provide the king with a continued use of his palace in the afterlife. For this reason many of the buildings are solid, massive structures, without any space or room inside and lacking any particular function.

1 Pyramid. 2 South Tomb. 3. Shrine of the Sed Feast. 4. "T" Temple . 5 South.Patio 6 South Pavilion. 7 North Pavilion. 8. Mortuary Temple 10 Colonnade. 11 North Court. 12 Northern storages.13 Northern galleries. 14 Serdab. 15 Northern Altar. 

The large square in front of the pyramid is a spatial typology that seeks to highlight the scale and monumentality of the structure. It is a resource used in other cultures' pyramis, distant in time and space from Egypt, such asTeotihuacan, the Maya and the Moche.

Entrance the complex

Only one of the 13 false doors of this wall leads into the square, through a passage, whose roof was supported by beams which in turn were supported by a colonnade. These were the first bearing columns in history, and apparently Imhotep was not sure that  they would work, as he joined them in pairs and filled the space between them. This experience would be the basis for future free-standing columns in Luxor, Karnak, etc. In Saqqara columns were rounded to have the appearance of palm trees.

They were built by superimposing individual blocks and they have a wider base to better distribute the loads from the roof.

After touring this passage in the semidarkness, the visitor dazzled by accessing a large square where the Heb Sed took place, a ceremony in the twentieth or thirtieth year of the reign of the pharaoh, a sort of royal jubilee in which the monarch was "blessed" by the gods after participating in religious ceremonies and a series of physical demonstrations. To do this, a shrine (whose shape resembled the desert tents), welcomed a procession and a series of ceremonies officiated by the High Priest. After the ceremony the Pharaoh was crowned again carrying the symbols of Upper and Lower Egypt.

Side chapels.

THE RECOVERY PROCESS

Currently a combined team of Egyptian and British experts is undertaking a process of restoration and structural reinforcement of the pyramid, especially at the burial chamber which is in danger of collapse. The project aims to introduce a set of steel bars which would increase the stability of the rocks that make up the camera coverage of the gravestone. However, since the drilling itself could cause the collapse, it was necessary to first clean the inside of the camera and then install a scaffold containing a sort of air mattresses, which may support the rocks in case  they collapse. The project has been carried out despite very difficult logistical and political conditions, due to the recent outbreak of a revolution.

SEE ALSO
- OTHER ANCIENT PYRAMIDS

• coming soon

CHICHEN ITZA

ESPAÑOL

For many years I had wanted to visit Chichen Itza, the spectacular Mayan city located in the forest of the Yucatan peninsula, east of Mexico, long before it was chosen as one of the 7 wonders or that it became fashionable in the tabloids due to an apocalyptic interpretation of the "prophecies" Maya.

Here, we need to use our imagination to picture an impressive citadel, full of colorful monuments whose volumes, painted in ocher, tuquoise, green, orange, white and black, stood stunningly against the blue sky. Like their ancestors of Teotihuacan, the Mayans in Chichen Itza combined architecture with rich and colorful sculptures, evident in the detail of a profuse relief sculpture that represents snakes and other divine creatures.

Mayan cities enjoyed a sophisticated urban and architectural planning , with complex systems of aqueducts, canals and drains.

The city of Chichen Itza was huge and covered an area of ​​24 square kilometers with about 400 stone buildings distributed in 46 groups, that were built over the centuries. While it is not necessary to use the imagination to know the features of its inhabitants, as their descendants walk throughout the complex as craft vendors, it is necessary to imagine their numbers: more than 100,000 inhabitants ( only 10 cities in the world had that population 1000 years ago).

See location on Google Maps

Regarding the urban landscape, I asked our guide how accurate was Mel Gibson's Apocalypto and he replied: "It is out of time, the Mayans were in decline when the Spanish arrived and they did not go to capture prisoners. Aside of that, the representation is quite realistic. "

However, the area that we see today corresponds to a ritual zone and it was encircled by a wall, which means that generally  it could only be accessed by prominent authorities. At night, this area must have become a wonderful spectacle, when the pyramids were illuminated by hundreds of torches, as it is evidenced by the traces of oil found in the pyramids.

The pyramids were made of limestone joined with a cement made of burnt lime, crushed and mixed with water, and they were often built on top of  previous structures. Excavations confirm that the Kukulcan pyramid stands over three ancient structures, which allowed it to reach a height of 24 meters to the top platform. To these are added the 6 meters of the temple on its peak, reaching a total of 30 m.

Each of the sides of the base measures 55 m, making it smaller than the Pyramid of the Sun at Teotihuacan .

Besides its size and elaborate artistic quality, Chichen Itza is an outstanding example of astronomical knowledge applied to architecture. A detail in the Kukulcan Pyramid, also called "the Castle," are the two serpents that flank the central staircase.

Well, in December 21st, during the winter solstice (yes, the day when "the world ends") the stairs of the pyramid produce a shadow in the shape of a snake and that, starting from the head form the body of the magic reptile, thus uniting heaven and earth. The detailed Mayan calendars also allowed them to understand the cycles of the stars and eclipses, and used that information to govern, control and impress people.

Another impressive aspect in this urban space is the acoustics. The sound was thoroughly studied, and allowed a person to clearly hear the speaker talking at the top of the pyramid. The following video   demonstrates the impressive effect obtained by  a single clap, whose sound was enhanced 10 to 12 times. Can you imagine the cry of a crowd?

The acoustic effect not only occurred in the pyramid, but also in the structure for the ball game.

This was a solemn space, where a game similar to football was played (although it could play with shoulders, elbows and knees) bouncing a rubber ball between two teams of seven players.

The game ended when the ball passed through one of the two rings especially carved in stone located at each side of this space.

The game was a sacred ritual, and the losing team was sacrificed, as evidenced by the reliefs found on one side of the structure

Besides the buildings, the complex contains a large well or cenote, vital for supplying water to the population and where, paradoxically, human sacrifices were offered during  times of drought. Because of them the city is named: Chi Cheen Itz a means "mouth of the well of water witches".

This brings up the huge environmental footprint that the city should have had, not only by the deforestation involving the city area itself, but by the large number of trees and water that was required in the construction process. This forest devastation was one of the causes of the decline of the Mayan civilization. Indeed, the city was abandoned already in the thirteenth century, three centuries before the arrival of the Spanish, due to environmental collapse and the brutality and cruelty of the ruling class, which was then a coalition formed by the Mayans and the Toltecs. The latter subjugated the Maya culture and exercised their power through human sacrifices to worship the sun, which according to them was fed only by the hearts of the sacrificed. For this reason many people fled to the jungle, accelerating the city's  process of collapse.
By the time Europeans arrived in this city, the jungle had claimed it for himself.

SEE ALSO
- ASTRONOMY AND ANCIENT ARCHITECTURE

• Machu Picchu, architecture and landscape
• Newgrange, Megalithic tomb. Brú na Boinée, Ireland (3200 B.C)

I. M. PEI AND THE LOUVRE MUSEUM

This second part dedicated to the Louvre Museum is focused on its contemporary remodeling, since the first  post was devoted to the creation and evolution of the Palais du Louvre .

The Louvre Pyramid, designed by Ieoh Ming Pei is an iconic landmark and represents the insertion of modernity in a historic setting. Controversial, hated and loved, the Louvre Pyramid has become a place where contemporary architectural landscape of Paris in the collective memory of Paris and even in literature, especially in the also controversial Da Vinci Code .

BACKGROUND

Following the establishment of the Third Republic in 1870, until early 1980 the Louvre Museum hosted a number of functions in addition to the museum, such as the Ministry of Finance. Moreover, the exhibition areas were separated, scattered and poorly organized, with multiple entrances that caused  chaotic circulations and lack of public services. Perhaps the worst of all was that many stored works became moldy because there was no room to display them properly.

The Cour Napoleon before the intervention.

Since 1981 François Mitterrand proposed to return to Paris its prior character of world's cultural capital. For this purpose Mitterrand (nicknamed Mitte-Ramses II for his tendency to make monumental works), promoted a renewal that Paris had not seen since the times of Baron Haussmann, including such important works as the Parc de la Villette , the City of Music , the Arab World Institute , the Arch of Defense, the National Library, the Centre Pompidou and the remodeling of the Louvre Museum among others.

In order to integrate the Louvre in a  comprehensive and logical way, in 1983 Mitterrand hired the Chinese American architect I.M. Pei, who had just completed his National Gallery Washington (I hope to review this great project in this blog in the near future).


There was no contest. It is surprising that a socialist French president chose an "imperialist American" architect to remodel one of the most emblematic buildings of French architecture. Maybe that's why Pei was not very enthusiastic to accept the undertaking at first.

Pei's First schemes on the Louvre

"I told the president that I considered it a great honor, but I could not accept the job immediately. I asked him if he would give me four months to think about it -I had already decided I wanted to do this, but I wanted to see if it would possible to do it" recalled Pei with his characteristic simplicity.

After several secret visits to the Louvre, Pei met Mitterrand and convinced him that the only way to achieve an efficient functional relation between the many buildings of the museum had to be through an underground connection, assuming the Cour Napoleon as the center of gravity of the Louvre. Mitterrand was a avant-garde politician and accepted not only the underground intervention , but the intrepid proposal to place a glass pyramid at the entrance of the museum.

Aware that the architect's proposal would bring criticism from his conservative fellows, Mitterrand and Pei worked in  the project almost secretly, and when they had to start the construction, the protests were immediate. About 90% of the population of Paris (known for its anti-Americanism) was against the proposal as a century before the Parisians had opposed the Eiffel Tower. There was even an angry French woman who spat on the architect Pei . "How can you destroy the Cour Napoleon, one of the most important urban spaces not of France, but of the world?" cried the critics. Actually, that space was being used as a parking lot by the Ministry of Finance during the day and as a refuge for drug addicts at night.

"The pyramid was a very controversial subject, back in 1984-85, as people tend to confuse the form of the pyramid of the Louvre with that in Egypt. I think it is not accurate: the Egyptian pyramid is huge, it is made of solid stone,and it  is a place for the dead. The pyramid at the Louvre is the opposite: it is made of glass, it is transparent, and it is for the living. "

Construction of the pyramid

However, upon completion, the work was praised for his severity, functionality and clarity, as well as the architect's effort in trying to highlight the ancient work through a simple and clear geometric element. Today it is one of the main symbols of Paris.

CONCEPT

Pei started from the premise that, rather than that the museum was located only the south wing, a large elongated building, it should cover the whole palace complex, organizing itself in a U shape around a courtyard. Then he had the idea of ​​digging up the yard Napoleon nine meters underground and there provide enough space for the storage of the works of art and loading equipment, an auditorium for 400 people, information areas, conference centers, a friendly cafe, book stores and souvenir shops.


The entrance to the museum is the symbolic center around which the three pavilions of the museum are organized .


This humble gesture of digging its architecture to make it less shocking is recurring in Pei, as we saw in the Miho Museum, which we reviewed earlier in this moleskine.

Pei organized the museum in a logical way, placing the works from northern Europe (France, Germany, Netherlands) to the north, and the ones from southern Europe (Italy, Spain, Egypt) in the south pavilions.


The entry should have an appropriate scale. However, he refused to build a solid element that would compete with the presence of the baroque buildings. By contrast, he chose a very discreteelement  in comparison with the enormous remodeling that was carried out underground.

"I think the transparency of the pyramid is very important here. Not only to bring light into the reception room, but also to see the entire complex of the Louvre through it."

The Clock Pavilion (Pavillon de l'Horlog) seen from outside and inside the pyramid.

The 21.6 m high pyramid is based on a metal space frame, which holds  672 glass panels that define the grand access, bathed in light and a spacious and imposing space.


But why a pyramid, of all shapes Pei could have chosen?

"Formally, the pyramid is the more compatible figure with the Louvre's architecture. Also, it is one of the most stable forms, ensuring  its transparency ... and it is constructed of steel and metal, symbolizing a break with past traditions, it is work of our time. "

As an enthusiast for geometry, and emphasizing the symmetrical pattern of the palace, Pei transformed the old parking lot on the Cour Napoleon into a square with  triangular fountains around the pyramid and three small 5 m high pyramids, located at the north, east and south.


Inside, the light bathes the wide, marble-tone soft and warm spaces, elegantly housing the artwork without trying to impose to it, as he did in his Miho Museum.

Detail of spiral staircase, a sculptural element into the museum.

Urbanely, Pei's contribution to Paris was to turn an obstacle in the circulation (as the museum previously behaved) into an important node and a bridge connecting the districts on the left bank of the Seine.

"To the north you can go to the Rue du Rivoli and the underground. Heading west you can go to the gardens and two large staircases lead you out, to the gardens ... The Louvre is open to the entire public. They do not need enter the Louvre ... they were not used to walk by the Cour Napoleon, but now they do. "

SECOND PHASE

The Louvre opened its doors in 1989, and gradually the criticism became praise. That confidence led Pei to more freely develop the second phase of the renovation in 1993, including the Richelieu wing, formerly occupied by the offices of the Ministry of Finance.

Renewal of the pyramid side wings

It was an internal architectural renovation maintaining the historical shell. For this purpose the interior and exterior facades of the museum were restored and defined 3 patios (which previously were also parking areas) and  glass-roofed internal galleries.


Except for some historic rooms, the offices of the ministry (which were crowded up to 6 levels) were completely remodeled to accommodate three levels, consistent with the external proportions: the lower level for sculpture, decorative arts in the second level and paintings the top level, for which skylights were installed to allow their best contemplation.


It also included a shopping center beneath the Arc du Carrousel and the famous Pyramide Inversée, was installed, an inverted pyramid that brings light to the interior while dramatically hanging just inches from a smaller stone pyramid.

"I thought it would be fun to make a mischievious piece, something like what the French call  a "folie "(folly) and I inverted the pyramid, creating a frivolous symbol but that does not take up space."

THE COLLECTION

If I had to choose 3 objects that impacted me from the very extensive collection of the Louvre, probably I would select:

The Winged Victory of Samothrace or Niki of Samothrace.

The Venus de Milo , which was higher than I thought.

And the famous Gioconda, or Mona Lisa del Giocondo, by Leonardo Da Vinci, which is smaller than I thought. This video discusses the reason for his fame.

THE DA VINCI CODE.

About the controversy over the novel by Dan Brown and its relationship with the museum, please see my opinion in anecdotes of Moleskine (in Spanish, please use Google translator to the right).

SEE ALSO

• Louvre Museum, part I

OTHER WORKS OF IM PEI.

• Miho Museum, Shiga, Japan (I.M. Pei)

ART MUSEUMS

• 21st Century Museum, Kanazawa, Japan. SANAA (1999-2004)
• Guggenheim Museum, New York, USA. Frank L. Wright (1943-59) 
• Hoki Museum, Chiba, Japan. Tomohiko Yamanashi (2008-10)
• Kolumba Museum, Cologne, Germany. Peter Zumthor (2003-07)
• Museum of Western Art, Tokyo, Japan. Le Corbusier (1959)
• National Art Center, Tokyo, Japan. Kisho Kurokawa (2000-06)
• Suntory Art Museum, Tokyo, Japan. Kengo Kuma (2004-07)
• Watari-Um Gallery, Tokyo, Japan. Mario Botta (1985-90)