Master Thesis of Landscape Architecture

RE-ASSEMBLING THE ORACLE GIVING PLACE TO THE RE-EMERGENCE OF SPIRITUAL ECOLOGY

Pachacamac Site Lima, Perú

Thesis by Constanza Jara Herrera MASTER OF LANDSCAPE ARCHITECTURE UNIVERSITY OF MELBOURNE November 2019

RE-ASSEMBLING THE ORACLE GIVING PLACE TO THE RE-EMERGENCE OF SPIRITUAL ECOLOGY

Pachacamac Site Lima, Perú

Thesis by Constanza Jara Herrera Supervised by Dr Gini Lee MASTER OF LANDSCAPE ARCHITECTURE UNIVERSITY OF MELBOURNE November 2019

Fig. 1-4. Performance of Despacho in Pachacamac

In memory of my great grandmother Adelina Rojas, who was the first Mapuche in the family to have a Spanish name. In her name and all women after and before.

Acknowledgments My acknowledgments to the University of Melbourne for supporting this research with the Steve Calhoun Scholarship, allowing me to do a research trip to places of inquiry.

I gratefully acknowledge to all those who collaborated to this research from community and academic contexts: Nga Tuhoe in Ruatoki, Aotearoa; Taicia Marques, Janet Oshiro, Patricia Victorino, José Canziani and Giancarlo Marcone in Peru; Carolina Cabezas, Marina Pizzotti and Paula Yañez in Australia.

Thank you to Gini Lee for supervising my work and giving me guidance to open new inquiries in the path of cultural landscapes and traditional knowledge.

Finally, I also want to give thanks to the Colectiva Abya Yala, for being a warm nest of inspiration to question and re-weave Latin American feminism every Wednesday.

5

CONTENTS

Acknowledgements 1. Situating the research

1.1 Research question

1.2 From Colonialism/Coloniality to decolonisation

1.3 Indigeneities

1.4 Sacred cultural landscapes

5 9 9 10 11 13

2. Methodological approach

2.1 Theoretical frame

2.2 Khipu methodology

14 14 16

3. Design principles

3.1 Development process

3.2 Design principles and strategies

18 18 20

4. Mapping landscape factors

4.1 Situating Pachacamac

4.2 Social media data gathering

4.3 Existing program

4.4 Site’s opportunities

4.5 Precedents and materials

4.6 Foundational Andean Relationships

4.7 Lima’s metropolitan dynamics

4.8 Pachacamac site analysis

23 26 28 30 31 32 34 38 40

5. Re-assembling the oracle

5.1 Foundational traces

5.2 Site today

5.3 Re-assembling the oracle

5.4 Spatial analysis

5.5 Priority knots of development

5.6 Network of threads and knots

5.7 Re-assembling narratives

5.8 Water thoroughfare

5.9 Sensorial threshold

5.10 Square - trading pavilion

5.11 Atrium

5.12 Perspectives

5.13 Details

5.14 Conclusion

42 46 48 50 52 58 60 60 62 64 66 68 70 74 78

6. Reference list

80

7. Appendix 1. Pachacamac field work

90

8. Appendix 2. Parallel territory of enquiry. Tuhoe case of study

102

ABSTRACT Pachacamac archaeological site is located in the outskirts of Lima, Peru, and has been known as the largest place of the oracle in the coastal pan-Andean region for over 1500 years.

This thesis proposes a series of Flexible Staged Grounds for Pachacamac to facilitate a process of re-emergence of spiritual ecology and give place to foundational aspects of Andean cosmovision, which merges celebration of ritual with care for ecological systems. In an effort for resignify places, identities and ecologies, the Flexible Staged Grounds are sustained by a network of threads and knots that reassemble precolonial past with present uses.

A Khipu methodology drawn from an Inkan knot-based system is used as an analytical tool for mapping and revealing relationships for design strategies. Thoroughfare, Square and Atrium are the three main spaces that comprise the design of this proposal, and which include traditional vegetation management, trading pavilion, performance of procession and rituals, among others. This proposal seeks the flourishing of intercultural memories for indigenous and non-indigenous people in/with this landscape setting.

8

1. SITUATING THE RESEARCH

1

ELABORATION OF RESEARCH QUESTION

+

design principles for Indigenous sacred landscapes

HOW

can facilitate

WHY

decolonisation processes

WHERE

FRAMING A DESIGN RESPONSE How a design can facilitate the re-emergence of spiritual ecology?

How WHAT

2

Site analysis + mapping Opportunities/Challenges From principle to strategy SPHERES OF DESIGN RESPONSE

in (post)colonial contexts?

• Cultural-spiritual

Cosmoscape

Traditional and current practices

Epistemology and identity

• Historic-political

Genealogy Interpretation

KHIPU METHODOLOGY

• Physical-ecological

Natural environment Built form across epochs

Pachacamac, Peru

The largest oracle of the coastal Pan-Andean region

DESIGN PRINCIPLES

DESIGN STRATEGIES

Understanding genealogy Situating territorial networks Revealing relational place Tracking local practices Interpreting cultural meanings

Celebrating genealogy Situating territorial networks Re-occupying relational place Reterritorialising local practices Re-emergence of cultural meanings

[HOW]

[WHAT]

FLEXIBLE STAGED GROUNDS 9

Design response

[WHERE]

THE END OF COLONIALISM DOES NOT MEAN THE END OF THE COLONIALITY. COLONIALITY AND MODERNITY ARE TWO SIDES OF THE SAME COIN, BOTH LINKED TO THE CREATION OF CAPITALISM. NATION-STATES EXPANDED COLONIALITY THOUGH ALL PLACES OF THE WORLD WHERE COLONIALISM DID NOT GET IN COLONIAL EPOCHS. (Jara, 2019a)

1.1 From Colonialism/Coloniality to decolonisation Colonialism, capitalism and patriarchy has been imposed throughout the world since the arrival of Pizarro in the American continent, installing the idea of a nation-state with a vertical structure where the majority of the population were subalterns, subjugated to the edge of new empires. Social, spatial and environmental injustices have been confined in fruitful lands and peoples, under a socio-spatial division between self and other, centre and margin. (Jacobs, 1996. Jara, 2019a)

learn, unlearn and re-learn (Walsh, 2013: 24) based on a mirroring relationship between natural environment and people.

Shifting colonial land New designs should be thought of as space to allow collective transformative processes of internal decolonisation, a ground to leave the teleology of the progress and give a place to face the conflictive fact of being Mestizo, to then, be able to create new types of collectiveness.

One of the wounds of Colonialism over colonies is the effort to erase social roots. Colonialism is described by Maldonado-Torres (2011) as ‘a political and economic relation in which the sovereignty of a nation or a people rests on the power of another nation’, a massive enterprise led by economic purposes (Verdesio, 2018:93), imposing a rule not only over present and future times of a dominated society, but also destroying their past (Fanon, 1963: 41), using the forgotten as a political tool that modernisation use to hide social claims.

As a continuation, Coloniality corresponds to the effects and patterns of power produced by colonialism (Maldonado-Torres, 2011), extending its limits to current times. Therefore, it is not possible to talk about post-colonialism if power structures have not changed.

(Jara, 2019a)

To overcome Coloniality, social transformation must pass through processes of cultural digestion (Bary, 1991) and decolonisation of practices (Cusiquanqui, 2012: 101), in order to arise different fronts, voices and fields, replacing homogeneity with heterogeneity.

(Bueno & Caesar, 1998: 111; Keating, 2005: 42, 181).

Specific cultural design responses may need to be investigated through interrogation of past and present uses and meanings to facilitate the emergence of this social transformation.

To address this critical situation, the remaking of power structures and ambition of (re)territorialising meanings (De la Cadena & Starn, 2007: 3, McGaw & Pieris, 2015: 21) should be a foundational aim of design projects. A decolonial social desire addressed through design to 10

1. SITUATING THE RESEARCH

Legal frame

PLURALITY diversity without assimilation

• UNPFFI - United Nations Permanent Forum on

Indigenous Issues • IPBN - Indigenous Peoples’ Biodiversity Network • IEN - Indigenous Environmental Network • IWGIA - International Woek Group for Indigenous Affairs

(Sarmiento & Hitchner, 2017: xiii)

Authenticity - Invention Subsistence - Wealth Traditional Knowledge - New Technologies Territory - Diaspora (De la Cadena & Starn, 2007: 33) From binaries to new type of relationships where both sides are connected.

Regaining voice/ self-determination Land and cultural rights

INDIGENOUS REVIVAL

Access to resources

1.2 Active Indigeneities Modern teleology of progress and Colonisation have adversely impacted on Indigenous peoples around the world. Exploitation, disease, war and cultural assimilation have been some of the factors that dramatically wiped out many Indigenous societies, or at least placed them in a position of discrimination, poverty and second-class citizenship. (De la Cadena & Starn, 2007: 4)

Value of TEK “Knowledge tradition or system that has arisen specific to a particular ecology, environment or place… [that] has grown upon a lengthy tenure a particular people have enjoyed with that place.” (Stuart & ThompsonFawcett 2010) For design, Traditional Environmental or Ecological Knowledge (TEK) has a major relevance. TEK is defined as embodied knowledge coined by a certain local community under observations and try-andfail processes, resulting in an accumulation of local practices as dynamic cultural methods through the landscape. These methods have been shaping environments over uncountable generations, as a type of interaction based in a tripartite relationship between kosmos, corpus and praxis, which correspond to their belief system, space and practice, respectively.

(Heckler, 2009. Toledo, 2005)

Addressing this situation, Indigenous revival is gaining agency and taking force globally, as open-ended processes of yet undetermined pathways. Particularly, due to the fact that Indigeneity can not be reduced to a singular frame, each collective will have different trajectories and scopes to approach activism (Bello, 2004. De la Cadena & Starn, 2007. Sarmiento & Hitchner, 2017: xii). Due to those particularities, there is no general agreement in the lexicon refereed to Indigenous peoples. Names and definitions that arose from the attempt of categorisation in different latitudes and contexts. However, as is stated by Mamdani (De la Cadena & Starn, 2007: 4), this definition is a mirroring and ever changing relationship between settler and native, thus, “Settler and native go together... there can be no settler without a native, and vice versa”.

These particular ways to inhabit territories, seeing and doing are strongly tied with spiritual knowledge and the agency of earth beings (De la Cadena, 2015).

Spiritual links between humans and other-than-human create narratives based on cosmogonies, genealogy of landscape and everyday life. (Apffel-Marglin, 2012.

Buggey, 1999)

In that way, it becomes significant to research new possibilities to re-connect the particularities of different Indigenous peoples with their history and culture in the creation of narratives that link sites of cultural significance with present communities. (Sarmiento & Hitchner, 2017: xiv)

11

TRANSITION OF CULTURAL IDENTITIES Pre colonial societies 0 -600 CE Lima 600-1100 CE Wari 1100-1450 CE Ychma

DIASPORA

ANDEAN CULTURE

INKA

1450-1533

1533-present

+

MESTIZO

SPANISH

PEASANT

Rural areas/ highlands

Rural/Urban expulsion

SUBALTERN

The Peruvian case: from Indigenous to Mestizo

Establishing peripheries of Lima

(Comunidad Andina, 2013. Durán, 2010. Quijano, 2014)

The Spanish arrival in Peru and the establishment of the Vice-royalty in Lima, promote the suppression and deletion of precolonial societies, creating class, race and gender divisions. Policies of eradication of idolatries, evangelisation and reduction of indigenous impacted on the social imaginary, which has been built fostering Spanish and aristocrat modes, in detriment of precolonial places, identities and ecologies.

From diverse self-organised neighbourhoods, such as Villa El Salvador, a movement is emerging to embrace these roots and values, by activating and reappropriating authentic cultural expressions including food, language, dances, among others. Doing that, this grassroot movement is recovering spaces and creating a neo-Andean spirituality (Montoya, 2010)

In Peru, as most parts of Latin America, despite the fact that most of Peruvian are considered Mestizo, which is a person of mixed blood between Indigenous, European and/or African, not all people have this self-recognition due to the impossibility of seeing their own Indigenous roots; as a result of the veil of modernity. (De la Cadena, 2000. Jara, 2019a)

Cultural identity impacts in the way space and relationships are conceived, being articulated by collective memories (Montecinos, 1997).

Understanding this context as designers, we may create places for active transformation and to promote the creative conflict of mixed identity, allowing to re-weave threads to (re)integrate the heterogeneous white and black parts within - more than a passive homogeneous grey (Cusicanqui, 2018). Consequently, spaces need to be designed not only to be approached by visual senses, which is the main sense where racism is applied, but also for stimulating other senses to promote safe affective dialogue and imagine new narratives. (Jara, 2019a)

In this process of 500 years, the social imaginary and self-identification has moved from Indigenous to peasant, from peasant to subaltern. Nowadays Lima is composed by 68% genetically recognised Indigenous population, constituting the 10 largest districts with majority of indigenous population, which corresponds to subaltern areas of Andean diaspora. (Chirapaq, 2017. Fernandez, 2013) Specific ways of seeing and doing underlay the values of the Andean diaspora, such as: complementarity, Solidarity, reciprocity, decision by consensus, unity in the diversity, interculturality and integration of “buen vivir/Sumac kawsay” (good life). All them, foundational concepts of Indigenous resistance against Coloniality 12

1. SITUATING THE RESEARCH

International instruments for sacred natural sites: 1. The Universal Declaration of Human Rights (1948) 2. The International Labour Organization’s Convention ( No. 169) concerning Indigenous and Tribal Peoples in Idependent Countries (1989) 3. The World Heritage Convention - Cultural Landscapes (1992) 4. UNESCO’s Man and the Biosphere’s MAB Seville Strategy for Biosphere Reserves (1995) 5. UNESCO’s Universal Declaration on Cultural Diversity (2001) 6. UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage (2003) 7. UNESCO’s Convention on the Protection and Promotion of Cultural Expressions (2005) 8. United Nations Declaration on the Rights of Indigenous Peoples (2007) 9. The Ramsar Convention on Wise Use of Wetlands (1971)10. The Declaration on the Rights of Pacha Mama (2010) 11. The Convention on Biological Diversity (1992) (Sarmiento & Hitchner, 2017)

1.3 Sacred cultural landscapes Traditional Western epistemologies conceive sacred places based on religious tradition, which are found embodied in churches, graveyards, cathedrals and other places of significant events such as miracles, birthplaces or even secularised sites as memorials.

Contrastingly, in diverse Indigenous cosmovisions, culture is conceived as an interweaving between physical, spiritual and social environments. The whole environment is sacred due to its interconnections.

Therefore, all land is imbued in the spiritual world and subject to ever changing factors, moving far from being hallowed or conserved at all cost. (Sarmiento & Hitchner, 2017)

Looking at the process of region-making in Lima (Riding, 2017: 1), located in low land, it is necessary to refer to highlands and its spatial articulation based on foundational aspects of Andean cosmovision (See diagram in page 34). The ecological diversity through the different levels of the Andes mountain creates a co-dependent relationship based on water plantingharvesting, trading sustained by the procession route: Qhapaq Ñan (Inka Road), ritual festivities associated to seasons, among others. All them expressions that merge spirituality and ecology.

Performances are embodied memories composed by expressive manifestations as a way to actively transmit cultural knowledge. Performances and communitarian activities are together, where the first represent the identity built by the second, creating a space for memory and social integration. (Chamorro, 2013)

Oxlajuj Ajpop, Mayan leader definition of sacred sites: “naturally occurring or constructed places where cosmic energies are at confluence to enable communication with ancestors for learning and practicing spirituality, philosophy, science, technology and arts from Indigenous peoples” (Sarmiento & Hitchner, 2017: 14) [which they were, where they are, how they might be] The spiritual is political In diverse Indigenous cultures landscape, spiritual beliefs and power are strongly tied by connections between place, guardians of place (earth-beings) and sovereignty (Hubert, 1994: 217). The performance of rituals is sustaining multiple intrasubjective memories arising from those connections.

13

2. METHODOLOGICAL APPROACH

This thesis is proposing a design response for Indigenous sacred landscapes informed by design principles and strategies. The following qualitatives methods have been developed to approach the Peruvian case of Pachacamac under the aim of:

RE-ASSEMBLING THE ORACLE

Cross disciplinary literature review: ethnology, anthropology, ecology, sociology, history, politics, living heritage, astroachaeology, cultural landscapes, among others.

Site visits during week and weekend of August.

Conversation with locals, including academic, institutional sector and labours.

Landscape observation by sketching on site.

Physical model making of the site including topography, existing traces and main landscape elements. Hands on clay.

Different scales of territorial mapping: GIS data, historical maps, aerial images, on-site collected data.

Social media data collection.

Tracking cultural practices throughout the year.

Khipu as an analytical tool for thinking and reveal key relationships

• • • •

Site’s opportunities and constraints Re-assembling site’s narratives Spatial matrix to identify spaces of intervention Creating flexible grounds for 4 main relational spaces • Development of spatial features for re-assemblage: regenerative ecology, ritual performance, active learning, among others.

FLEXIBLE STAGED GROUNDS

14

This thesis is based on a theoretical base framed across diverse disciplines summarised in the following main areas:

INDIGENOUS REVIVAL Smith, L. Decolonizing Methodologies Sarmiento, F & Hitchner, S. Indigeneity and the sacred

URBAN LANDSCAPES Cannon, B. Staging Urban Landscapes Vangjeli, S. Reframing Urban Boundaries Crousse, J. Urban black holes Jacobs, J. Edge of Empire

TRANSITION DESIGN Escobar, A. Design for the Pluriverse Kalantidou & Fry, Design in the Borderlands CULTURAL HERITAGE Icomos, The Burra Charter International Indigenous Design Charter ETHNOGRAPHY OF LANDSCAPES De la Cadena, M. Earth Beings Canziani, J. Paisajes culturales y desarrollo territorial en los Andes ANDEAN STUDIES Eastermann, J. Filosofia Andina Duran, M. Sumak Kawsay o Buen Vivir Limon, S. Seres sagrados y espacios simbolicos de los Andes centrales Diaz, A., Galdames, L. & Muñoz, W. Santos Patronos en los Andes Cusicanqui, S. Un mundo Ch’ixi es posible

For extended theorethical reference refer to the reference list at page 80

15

DESIGN PRINCIPLES

DESIGN STRATEGIES

Fig. 6. Khipu exploration

2. METHODOLOGICAL APPROACH

Khipu method It is applied a method based on the Khipu, an Inkan knotted-based instrument as an interactive 3D model to register qualitative information in order to inform design principles and strategies.

Originally, the Khipu was used by Inka people as a recording system used mainly for accounting, encoding different type of information through diverse knots. In replacement of written language, this textile technology was widely used to compile records of diverse matters using different coloured threads and knot types to encode it. (Christensen, 2002. Penelope, 2019. datascope, 2019) Regarding the poetics of the Khipu, the artist Cecilia Vicuña states, the Quipumaking practice has within a philosophy of time. A line is a thread, a moment in the space embodying a meaning. In that sense, this exploration looks to open that poetic language and a new perception of time in the doing analysis though abstract language. (Díaz 2018) The result of the model is a story-teller object. Each knot is part of a story, a practice, an element, a meaning. Particular relationships are revealed in the doing.

The Khipu, as a methodological scheme, is created based in two axes to visualise relationships between the different knots. The vertical axis corresponds to the category of design principles/strategies, and the horizontal axis is the register of the different elements that compose each principle.

Knots and threads are creating relationships between them.

17

Fig. 7. Traditional Inkan Khipu

3. DESIGN PRINCIPLES DEVELOPMENT PROCESS Design principles and strategies are identifyied to approach the case of Pachacamac as an Indigenous sacred space and generate a cultural-specific design response. A first outline of key elements raised from the cosmovision are sythesised as key concepts, which are categorised in five typologies. Each of one corresponds to an aim associated to the “what’ of the research, further developed to strategies, associated to the “how”.

COSMOVISION

Key elements Food/water source Daily practices Ceremonial practices Private-communal-public space Modes of ownership Living systems Water bodies Topography Meaningful objects, colours, patterns and geometries Genealogy Succession

Key concepts

Typological categories

1. Intergenerational living memories. Genealogy 2. Contextual landscape factors 3. Relational (symbolic) space. Proxemics, interstitially, legibility, scale and proportion 4. Uses and rites 5. Elements of spiritual significance

TIME LANDSCAPE PLACE PRACTICE INTERFACE

Multi-generational (Eco)system regeneration Dialectic spaces Host “new/old“ practices Embedded art (epistemology, interpretation)

DESIGN PRINCIPLES

1. Understanding genealogy 2. Situating territorial networks 3. Revealing relational place 4. Tracking local practices 5. Interpreting cultural meanings

18

Fig. 8. Khipu exploration

CONTEXTUAL DESIGN RESPONSE

• Cultural-spiritual

Cosmoscape

Traditional and current practices

Epistemology and identity

AIMS 1. Promote the flourishing of intergenerational memories 2. Recover dialogues with factors of the landscape 3. Create a space to envision new futures 4. Promote the re-appropiation of meanings and practices 5. Define interfaces for intimacy and exhibition

• Historic-political

INTERFACE PRACTICE TIME

Genealogy Legitimation

• Physical-ecological Uses Modifications

PLACE LANDSCAPE

DESIGN STRATEGIES

1. Celebrating genealogy 2. Activating territorial networks 3. Reoccupying relational place 4. Reterritorialising local practices 5. Re-emerging cultural meanings

DESIGN PRINCIPLES

3. DESIGN PRINCIPLES

DESIGN STRATEGIES

21

“La bonita familia de Adatim Perú los invita cordialmente para este evento ancestral como todos los años la experiencia de muchos maestros danzantes y músicos que dejan la posta para la nueva generación, y el público que nos respalda conoce el trabajo de vuestra institución siempre en la tarea de salvaguardar y difundir nuestras costumbres ancestrales, generoso público general te esperamos. ADATIM PERÚ en el corazón del pueblo.”

“The lovely family of Adatim Perú kindly invites you for this ancestral event, as all years of experience of masters in dance and music, that leave the legacy for new generations. And the public that support us knows the work made by us, always with the effort of taking care and spread our traditional practices. Handsome general public, you are welcomed. ADATIM PERÚ in the heart of the people.”

Invitación posteada por ADATIM de Villa El Salvador el 30 de Marzo del 2019 (ADATIM, 2019)

Invitation posted by ADATIM from Villa El Salvador on the 30th March 2019 (ADATIM, 2019)

4. MAPPING LANDSCAPE FACTORS

23

PERUVIAN MESTIZO CASE Places of power

COSMOSCAPE Principal deities

Mythologic genealogy

Sun Inti Earth Pachamama The creator Viracocha

Secondary deities

Types of Andean sacred places

(Hubert 1996, Roberts, 2010)

Creator - earthquakes Pachacamac Rainfall Mountain Pariacaca Marine fauna Urpiwachaq Maiden Cavillaca

Their Lagoon interactions modelate the landscape Island

Ideologic construct (Limon, 2016)

LANDSCA Prominen Lakes Springs Caves Ocean Stones SPACE Temples

OBJECTS Burials Mummy/M Carving Painting

ACTIVITIE Chanting Rites Prayers Fasting

(Pozzi-Escot, 2017)

(Pinasc

Oracle/ Huacas

1

TERRITORY

Meanings from the interpretation of landscape

Tales from highlands invoke this as a sacred place where water can be called

Lowland in exposed enclave

LURIN

Regional Pan-andean oracle Meeting place/tinkuy

UNDERSTANDING GENEALOGY

2

Transgression of Indigenous rights and beliefs

Link highlands and coast Conceived as the end of the world

Chavin

- Lurin river and valley - Urpiwachaq wetlands - Ocean and two islands - Desert and hills (Pariacaca - Tutelar Apu) 1000 BCE

0

Ychsma Inka Spanish domination Peruvian nation

REVEALING PLACE

Traditional place

Conte

Oracle

Archa

ACCESS

Camino del Inka/Qhapac Ñan - Coastal - Hill

Old a highw

ENTRY

500 BCE How the place can be re-interpreted to facilitate new/tradictional cultural practices/rituals?

Stage 1

600 CE Stage 2

1100 1450 1533

3

Regio

(Pozzi-Escot et al. 2018)

Lima Wari

SITUATING TERRITORY

Become [mountain-water-ancestors] sacred

Chronology in Pachacamac (Pozzi, 2017, Pinasco, 2018)

Pachacamac SANCTUARY

Stage 3 Stage 4 COLONISATION

1821

Sovereignty through cultural identity

Four walls and two main axes INSIDE

Three categories of buildings.

Encounter with oracle is in an enclosed space (Pozzi-Escot, 2017) (Ministerio de cultura, 2012)

COLONIALITY

CULTURAL ASSEMBLAGED SOCIETY

INDIGENOUS CITIZENSHIP (Bello, 2004)

24

Site m

Trace sites

Ministe

4. MAPPING LANDSCAPE FACTORS

APE nt mountains

ANDEAN EPISTHEMOLOGIES & IDENTITY

Pachamama 21 Aug

COYA RAYMI KILLA Spring equinox Water Pray for crops 21 Sep

Time-Space/Pacha Spatial calendar/Chakana Duality: Water - Earth Oral tradition Ceremonies TEK: plant and harvest water Agency of landscape

S

Mallqui

Economic activity.

Trading Spiritual vocation -

co, 2018)

5

Chakana 21 May

N

O

Wiñay Pacha Ancestors 21 Nov

Political space Ushnu

ES

INTI RAYMI Winter solstice Major celebration God Sun 21 Jun Air

E S

Fire

PACHA POQOY RAYMI Autum equinox Maturity celebration 21 Mar

Anata/Crops 21 Feb

Earth CAPAC RAYMI Summer solstice Sun return 21 Dec

INTERPRETING MEANINGS Procession to landscape

OBJECTS Offerings. Body to landscape to God Apacheta. Body to landscape Temples as shrine. Body to landscape to God Bottles/jars. Body to landscape Symbolic responses

Qhapaq Ñan ROAD

onal Pan-andean road system

G

4

PEREGRINATION

PILGRIM

Procession to pray for climate conditions.

Gratitude ritual for water and food security

-

TRACKING PRACTICES

WHO

emporary place

Traditional practice

Contemporary practice

aeological site

Peregrination and meeting

Tourism and education

and new Panamerican way

Walking procession from different points of the Inka world with offerings

Large, small groups or individual visitors arriving by Panamerican highway in public bus, private car or bicycle

museum and loop

Fasting per 1 year before meeting the oracle

Visit the Site Museum and start walking through the site

es of buildings and to be looked

Gathering with experts who talked with the wooden oracle

1.5-7 hours Walking, workshop activities, bicycle route

erio de Cultura, 2019)

(Pozzi-Escot, 2017)

(Pozzi-Escot, Angeles & Uceda, 2015.

Pozzi-Escot & Uceda, 2019)

25

Management: Ministery of Culture General visitors: - Neighbours (Hand craft women group) (Bicycle tour guide) (Labours) - Tourists (Families, schools, international) - Professionals (Archaeologist, education, others) Specific public linked with the sacrality of Pachacamac: - Neo-andean people - Priest visitors - Uphill peasant community - New age people Varied grassroot associations

Fig. 12. Textil found in Pachacamac Fig. 13. Drawings of Pachacamac totem

Fig. 14. Illustration of the arrival of Spaniards

Fig. 16. Traces of buildings of Pachacamac

Fig. 15. Pachacamac today

Fig. 17. Celebration of winter solstice

Fig. 18. Planting initiative in lower area of Pachacamac

4. MAPPING LANDSCAPE FACTORS

SITUATING PACHACAMAC

27

Fig. 19. Buildings are not part of the official path, but visitors insist in use them

Fig. 20. Pachacamac becomes in a symbol Fig. 21. Buildings are not part of the official path, but to be used visitors insist in use them

SOCIAL MEDIA DATA GATHERING Fig. 24. Open day activity during the first Sunday of each month

Fig. 25. Offerings for ritual Fig. 30. Archaeology summer workshop

Fig. 29. Storytelling activity during open day

Fig. 23. Occasional night activation in summertime

Fig. 22. Occasional night use of the surounding areas of the Site Museum for neo-Andean music

Fig. 26. Inti Raymi ritual Fig. 27. Neo-Andean music in Pachacamac

Fig. 28. Bike tours during weekends hosted by neighbours Fig. 31. Craft women group

Fig. 32. Primary school precolonial crop workshops

EXISTING PROGRAM

WEATHER SEASONALITY

(adapted from weatherspark, 2019)

4. MAPPING LANDSCAPE FACTORS

31

PRECEDENT CASES

32

4. MAPPING LANDSCAPE FACTORS

MATERIALITY

33

FOUNDATIONAL ANDEAN RELATIONSHIPS

Genealogy, Territorial Networks, Relational Place, Local Practices and Cultural Meanings are the five aspects synthesised in Fig. 31.

Relationships between desert lowland, where Pachacamac is located, and the rainy upland, are tied by seasonality of water.

Qhapaq Ñan (Inka Road) in its segment Pachacamac-Xauxa is linking Pachacamac with the Apu Pariacaca (sacred Mountain) by the Lurin valley. A series of archaeological sites are found along the segment, tracking ancient pilgrimages.

Both points, Pachacamac in lowland and Pariacaca in upland are related by the calling of water, grounding a relationship between humans and earth-beings (De la Cadena, 2015).

Lima

Traditional Ecological Knowledge such as the amunas, pukios, sunken crops and fog harvesting systems, are part of the hydraulic precolonial infrastructure that allows societies maintain a breeding of water. (Crousse, 2016)

Place where the water is called

Festivities associated to the cleaning of channels, planting and harvesting are a way of maintaining a spiritual link with the ecological systems.

Pacific Ocean

34

4. MAPPING LANDSCAPE FACTORS

Inka Road/Qhapac Ñan

Place where the water comes from

Sacred mountain Apu Pariacaca

Rainfall

Altiplanic lagoons

Amunas/Infiltration channels

4800 m Settlements

Cultivation terraces Pachacamac oracle

Andes mountain region Pukios/springs

4000 m

Mist 3500 m

Water table

Fog harvesting Sunken crops

2300 m

Desertic costal region

Fig. 31. Foundational Andean relationships

35

500 m 0m

(Manga, 1994. Vallejo, 2011)

(Jallade, 2011. Ministerio de Cultura, 2019. Urton, 2014)

(Pinasco, 2018. Zapata, 2007)

(Canziani, 2007. Crousse, 2016. Eisenberg, et al, 2014.

Limón, 2006. Salomon & Schwartz, 1999. The Nature Conservancy, 2019)

LIMA’S METROPOLITAN DYNAMICS Pachacamac strategic intersection Hills, ocean, river, islands and wetland are the components of Pachacamac strategic enclave.

Currently it is the intersection of the expansion of the foundational grid of Lima and the peasant communities uphill.

Pachacamac archaeological site is defined as 450 ha protected as Cultural National Heritage for the Ministery of Culture. Nevertheless, its monumentality is not articulated with the surrounding fabric and it is usually perceived as a void within the urban-rural transition (Crousse, 2017).

38

4. MAPPING LANDSCAPE FACTORS

39

PACHACAMAC SITE ANALYSIS Diasporas of Andean (Mestizo-subaltern) communities compose the surrounding northern neighbours, opportunity to shift from physical preservation of the site to living heritage promotion.

To the south, touristic uses and farm land demarcate the topographic limit of the site, opportunity to relocate traditional landscape techniques.

The current access is associated to Site Museum, next to the Old Panamerican Highway, which bisects the site in the intangible area to the north and the monumental area to the south.

New public funding was allocated for a linear park in the northern interface, and the new building for the National Museum for Archaeology (MUNA).

Landscape elements are linked to a cosmogonic narrative through mythologic characters.

40

4. MAPPING LANDSCAPE FACTORS

41

5. RE-ASSEMBLING THE ORACLE

43

Fig. 44-46. Physical model of Pachacamac site.

DESIGN RESPONSES

44

5. RE-ASSEMBLING THE ORACLE

RE-ASSEMBLING THE ORACLE

PAST

PRESENT

FUTURE

DESIGN DRIVERS

• The re-assemblage connects traces from the past with current uses to create new futures, moving • • • • • •

from historical to futural approach. (Kalantidou & Fry, 2014) Flexibility alludes to the longevity of spaces in a continuous evolution over time. (Cannon, 2018) Staging is performance but also curation of a sequence led by a re-assembled narrative. (Cannon, 2018) Conservation of Pachacamac by adaptation. Changing the place to accommodate current uses connected with neo-Andean cultural practices that have the potential to recognise the sacred vocation of the place. (Australia ICOMOS & International Council of Monuments and Sites, 2013) Transition design for a pluriverse of socio-natural systems. Humans, non-humans and other than humans. (Escobar, 2018) Collaborative and participatory design should be included as part of the process/ out of scope of this thesis. (Escobar, 2018) The design is driven by:

45

Water is the place of women deities. Relationship that is embedded in the Urpiwachaq lagoon and acllawasi Temple as the place for choosen women, dotated with water courtyards and channels. (Limón, 2016) Adobitos

ll Wa

.2

No

ECR4

Acllawasi

Urpiwachaq lagoon

E

Urpi Wachaq Temple

rim

Pilg

FOUNDATIONAL TRACES Four different precolonial cultures have been founded in Pachacamac.

The place was recognised as the oracle of the Pachacamac deity.

Pilgrims used to visit it to ask, to thanks and celebrate for over 1500 years.

The place is strongly connected with physical and spiritual water dynamics, which was recognised as an oasis of four sources of water in the middle of Sechura desert.

Tectonically, Pachacamac is located in a sandy plain created by thick Quaternary eolic deposits, supported by a sedimentary bedrock (Pamplona Geological Formation).

The plain had been uplifted and eroded by the action of waves, creating a cliff of 40m above the plain.

(Ministerio de Cultura, 2012; 2019. Pinasco, 2018. Pozzi-Escot,462017.

Segura, 2010:4)

d

n/I

a cÑ

5. RE-ASSEMBLING THE ORACLE SERV.

apa

COMU NALES

Qh

a Ro a k n

ECR9 ECR5 Taurichumpi Temple

ECR6 ECR7 ECR3

rt No

ECR11

ECR1

out

h-s

ECR2

ad

h ro st -we

d

roa

ECR12

ast

E

ECR13 o.1

lN Wal

Zenithals

Solsticials

are

qu s’ s

m

Painted Temple Old Temple

Gallinazo Hill

LEGEND Natural water features Sun Temple

SITES Lima epoch/ 0-600 CE Wari epoch/ 600-1100 CE Yshma epoch/ 1100-1450 CE Inka epoch/ 1450-1533 CE

Ri

ve r

Walls

rin

Walkways

Lu

Pachacamac was the place were the Inkan world ends, as the finis terre, having its centre in Cusco and counter point in the highlands of Titicaca lake.

(Pozzi, 2017)

47

1:5000@A3 0

100 200

500m

Intangible zone

Future Linear Park

na

Old Pa

National Museum of Archaeology

Site Museum

P W Acllawasi

Rotsworoski Square Chacra display

P

Urpiwachaq lagoon

rim

Pilg

Horse Camp Nurseries

SITE TODAY Managed by the Ministry of Culture through the Site Museum, Pachacamac is recognised as one of the main archaeological sites of Lima for its monumental scale and historical relevance. Nevertheless, the inclusion of neighbour communities appears only in the last years as an attempt to give space to new alternative valorations from Andean/mestizo/subaltern public.

The access to the monumental area is through a drive-in loop with a series of carparking areas. The exclusivity of access of the current path alludes to an educational purpose by restriction.

Main buildings are integrated to the route in distance. It is permitted to look but not walk.

Interpretative boards are refereed to the physico-archaeological aspects of the site.

The interfaces with surrounding sites are tightly defined by “green”,Nwhich ew Pan refers to the artificial irrigation for touristic, recreational and agricultural am 48 eric purposes. The lack of green on site reflects the arid landscape setting. an Pacific ocean

Hig

hw

ay

Future Linear Park

5. RE-ASSEMBLING THE ORACLE SERV. COMU NALES

an americ

ay

Highw

Taurichumpi Temple

P

Nurseries

P

“Scissor dances are a performance of resistence fostering cultural selfidentification” (Sotelo, 2006)

P

re

qua

Painted Temple Old Temple

Agricultural land

LEGEND

Landscape interventions Sun Temple

Buidings of cultural institutions Looped walkways Car access Main sites for visitors Car parking

Ri

ve

r

P

Square

rin

Polo Club

Lu

’s ms

“At this moment people is quite far of ecological and spiritual thinking.

Today’s question is relative to what is the value of the river for people?” (Oshiro, 2019)

Crops 49

1:5000@A3 0

100 200

500m

Intangible zone

Future Linear Park

Entrance gate

Indoor workshops Lagoon ecosystem regeneration

Sta Outdoor workshops

Water, clay - lagoon

Waters: lagoon, ocean

ng

di Tra

pa

RE-ASSEMBLING THE ORACLE Drawing from a Khipy methodology, a network of threads and knots are sustaining the design strategies at different levels of intervention.

Ocean, island end of rive

A series of paths, thresholds, intersections, interpretative spots with storytelling and knots as the main gathering spaces are the strategic interventions to move beyond a frozen museistic experience and create a space of convergence between different users (neighbours, students, local, international) to foster past meanings and current uses.

Fog catchment system

50

Future Linear Park

5. RE-ASSEMBLING THE ORACLE SERV. COMU NALES

Apacheta, landscape of pilgrimae

River ecosystem regeneration

Cavillaca, ocean River flood mitigation zone

age

Enclosed space, Khipus

Stage Main gate

n llio avi

Ceremonial area

Atrium LEGEND

Procession thread Learning thread Water thread

ds, er

Entrance Intersection Threshold Knots Interpretative art element Riparian vegetation/ Fog garden Ceremonial core 51

1:5000@A3 0

100 200

500m

SPATIAL ANALYSIS PROCESSION THREAD ENTRANCE

PROCESSION PATH

RECONNECTING THE ROAD/ ADAPTATION

REOCCUPYING THE PATH/ RESTORATION

NEW CROSSING + ENTRANCE

- Conservation works towards provide continuity in the path - Existing materials to be maintained as the character of the path, mainly stone and adobe bricks - Integration of interpretative element as support for storyboard

- Pedestrian and cyclist crossing - Shelter, seating and lighting elements - Native vegetation as wayfinding element - Llama, bike and car parking - Symbolic sign integrated in gate Integration with new linear park in northern side and linkage with Qhapac Ñan (Xauja-Pachacamac section)

Fig. 47-48. Intersection point between site boundary and Qhapaq Ñan Road

Fig. 49. North-south street

52

5. RE-ASSEMBLING THE ORACLE

THRESHOLD

GATHERING POINT

TRANSITIONAL PLACES/ ADAPTATION

STAGE 1/ ADAPTATION

- Wayfinding elements with particular materials for each narrative - Integration of interpretative element as support for storyboard

RETERRITORIALISATION OF LOCAL PERFORMATIVE SURGENCIES - ritual and non-ritual - New ground to adapt the building as a stage - Paving design to orient the proxemics between espectator and performance - Lighting and speakers integrated

Fig. 51. Pyramid with ramp No.1

STAGE 2/ ADAPTATION DIALECTIC AND TRADING PLACE - ritual and non-ritual

Fig. 50. Intersection between streets

- Flexible use pavilion to provide shade, seating nodes and new ground - Place to host educational, civic and cultural activities such as markets, workshops and performances.

- Intervention based on traces of visible and underground structures DIALECTIC KNOT Fig. 52. Pilgrim’s Square

STAGE 3/ ADAPTATION CEREMONIAL PLACE - ritual and non-ritual - Consolidate the atrium for celebration of rituals - New ground that articulate the tensions of between the Temple of the Sun and surrounding views - Integration of a seven-dimensional centre - Potential to celebrate the stars

CEREMONIAL KNOT

53

Fig. 53. Temple of the Sun

SPATIAL ANALYSIS LEARNING THREAD ENTRANCE

LEARNING PATH

DIVERTING ACCESS/ NONE

ORIENTING THE PATH/ ADAPTATION

RECENTLY BUILT SANCTUARY ENTRANCE

LEGIBILITY + WAYFINDING + INTERPRETATION - Intervention to provide legibility of the archaeological buildings through brick pavement to alert of the share path between pedestrian, cyclists and vehicles.

- Integration of sheltered seating nodes with interpretative elements of the historical and natural environment.

Fig. 54. Site Museum entrance

Fig. 55. Current drive-in loop

54

5. RE-ASSEMBLING THE ORACLE

THRESHOLD

GATHERING POINT

TRANSITIONAL PLACES/ ADAPTATION

INTERACTIVE ART SPOTS/ ADAPTATION

- Wayfinding elements with particular materials to identify each narrative - Integration of interpretative element as support for storyboard

- Space to allow creative body exploration with local materials drawn from traditional practices in this landscape setting SAYWAS SPOT - Formalisation of existing activity - Integration of sheltered seating nodes with interpretative elements of the historical and natural environment.

Fig. 56. Intersection between paths

Fig. 57-58. Saywas/Cairns made by visitors in the ridge

KHIPU SPOT - Possibility to explore the Inkan language of threads in the Khipu house - Integration of sheltered seating nodes with interpretative elements of the historical and natural environment.

Fig. 59. Khipu house

JAGUEY SPOT - Water, gravel, sand and clay as elements to explore in outdoor classroom spaces linked with traditional materials from the site and allow the re-exploration of traditional techniques (pottery).

- Setting oriented to the lagoon and ocean, principal water point of the site.

- Potential connection with near spring

WATER KNOT

55 Fig. 60-61. Resting point

SPATIAL ANALYSIS WATER THREAD ENTRANCE

WATER PATH

RECONNECTING THE ROAD/ ADAPTATION

REOCCUPYING THE PATH/ ADAPTATION

NEW BRIDGE + ENTRANCE

REFUGIA + WATER INFILTRATION

- Pedestrian and cyclist crossing - Shelter, seating and lighting elements - Native vegetation as wayfinding element - Llama, bike and car parking - Symbolic sign integrated in gate

- Incorporation of Tillandsias for a infiltration system of fog catchment.

- Path for non-humans, providing refugia for reptiles, birds and insects.

- Creation of a corridor between both water systems, Lurin river and Urpiwachaq lagoon.

Integration with agricultural land in southern side and linkage with local road to neighbour communities

Fig. 62-63. Intersection point between site boundary and obsolete south access

Fig. 64. Arid slopes of the site

56

5. RE-ASSEMBLING THE ORACLE

THRESHOLD

GATHERING POINT

TRANSITIONAL PLACES/ ADAPTATION

RIVER FLOOD MITIGATION ZONE/ ADAPTATION

SENSORIAL THRESHOLD

- Transition to polyculture of native vegetation with sunken crops technique - Mitigation space to avoid river flooding - Vegetational succession as new boundary to be spread out uphill through slopes.

- Entering to the water space through a corridor of xeric native vegetation. Immersive experience to mark the transition when changing the levels.

- Consolidation of the look out in the plateau with outdoor classrooms and flexible furniture (potential use of Inkan Tiana bench)

Fig. 65. Traditional irrigated monocultures in between site boundary and Lurin River

Fig. 65. Entrance to the Acllawasi Temple ground

FOG INFILTRATION/ ADAPTATION - Native reforestation in a transition from wet to dry according to the topography, amplifying the small amount of water available in the air.

Fig. 66. Forest of mainly casuarina trees infested by fungi

FOG INFILTRATION/ ADAPTATION

WATER KNOT

- Space designed to foster past meanings and current uses by large groups of visitors.

57

Fig. 67. Current performance and agricultural space associated to the Site Museum

PRIORITY KNOTS OF DEVELOPMENT

A. WATER KNOT Learning space where traditional precolonial techniques are used to improve the ecological health of the place [Education, historical, ecology, climate change, +] Integration of political ecological response of environmental and water issues and the need of envision new co-created pluriverse futures. A performance space to take responsibility and action.

B. DIALECTIC KNOT Space to re-territorialise cultural practices through trading activities, promote dialogue and exchange of knowledge to envision indigenous citizenship.

58

[Civic, socio-economic, historical, +]

5. RE-ASSEMBLING THE ORACLE

C. CEREMONIAL KNOT Space to observe and listening. Performance ritual of despachos or salute.

[Spiritual, performance, ecology, co-existence, +] Integration of spiritual ecological perspective to the original vocation of the site as an oracle place.

Connections with the stars, visions of surrounding and inner landscape.

59

SETTLEMENTS

FUTURE LINEAR ARCHAEOLOGICAL PARK NATIONAL MUSEUM

URPIWACHAQ LAGOON

SITE MUSEUM

ACLLAWASI TEMPLE

URPIWACHAQ TEMPLE

NETWORK OF THREADS AND KNOTS Three threads are unfolded throughout the site to activate territorial networks under different vocations: learning, water and procession. Each one is a path with entrance points, thresholds and knots that constitute the sequencing of the path network.

WATER THOROUGHFARE

HANAK PACHA

External/above realm

Amphitheatre

Outdoor classroom Acllawasi Temple

KAY PACHA

Mundane realm

Learning thread

Inkan Tiana seating mobile furniture

East-west stree

SITE MUSEUM

Pukio/ spring

Jaguey water seasonal spot

UKU PACHA

Inner/below realm

Native reforestation Urpiwachaq lagoon

Wet

Water thread Outdoor workshops

Sensorial threshold through layers of xeric vegetation

Sunken crops

Dry

RE-ASSEMBLING NARRATIVES Thoroughfare, square and atrium are the new grounds which through an adaptation approach allows intercultural-generational interactions in/with the landscape setting, informed by past traces and current uses.

Each of them correspond to a knot located in three different levels based on the 7 dimensional world of the Andean cosmovision.

5. RE-ASSEMBLING THE ORACLE

INTERPRETATIVE ART ELEMENT THRESHOLDS

RIVER FLOOD MITIGATION ZONE

ENTRANCE POINTS

TILLANDSIAL/ FOG CATCHMENT SYSTEM

PAINTED TEMPLE

PILGRIM SQUARE

TEMPLE OF THE SUN

OLD TEMPLE

LURIN RIVER

SQUARE AND TRADING PAVILION

ATRIUM

Temple of the sun RITUAL ATRIUM

SALUTATION ATRIUM

Performance ground

Procession thread

et

Allillanñachu kanki?

Learning thread Ari tatay

Threshold - Art installation knotting to enter Fog-infiltration with tillandsias

Inkan plints

Sharing matico/plant-knowledge emoliente/drinks quechua/language

61

HANAK PACHA

External/above realm

Amphit

KAY PACHA

Mundane realm

SITE MUSEUM

UKU PACHA

Inner/below realm

Native reforestation Wet

Urpiwachaq lagoon

Sunken crops

Dry

eum

Site Mus

WATER THOROUGHFARE Phytoremediation pond

Urpiwachaq ecosystem will be celebrated by water reactivation achieved through the reconnection of a near spring to the existing stone irrigation channels. A new channel will be embedded in the proposed thoroughfare fostering current uses and past meanings such as the Acllawasi temple with its channels and ponds as place for water and women, and current agricultural and performance activities connected to the Site Museum.

62

theatre

Outdoor classroom Acllawasi Temple

Learning thread

Water thread

Jaguey water seasonal spot

Sensorial threshold through layers of xeric vegetation

Outdoor workshops

WATER KNOT

s

Amphitheatre

Control slope erosion

Acllawasi Temple

P1

New irrigation channel

Outdoor workshop seating area Jaguey Seasonal water spot

To Urpiwachaq lagoon

Sunken crops Indigenous food

Permeable paving

Amphitheatre Acllawasi Temple

Learning thread

Water thread

Jaguey water seasonal spot

Outdoor workshops

WATER KNOT

Sunken crops

Dry

Learning thread

SENSORIAL THRESHOLD The sensorial threshold will arise by a process of progressively replacing the damaged casuarina forest by native planting of endangered species of the zone.

The transition will vary from a dry forest (tillandsias will gradually cover the slopes to reduce erosion and increase fog infiltration) in high points to a wetland vegetation in lower areas.

Existing jaguey

64

Outdoor classroom

Inkan Tiana seating mobile furniture East-west street Pukio/ spring

Sensorial threshold through layers of xeric vegetation

Traces of the second wall

Fog garden

Outdoor classrooms

ple

a

law

Acl

ter Wa

em si T

ad

thre

Existing irrigation channel

New embedded irrigation channel

Native xeric shrub mass

Parkinsonia aculeata

Prosopis Schinus molle limensis

PROGRESSIVE NATIVE REFORESTATION

Performanc

eating ture East-west street

Allillanñachu kanki?

Pukio/ spring

Inkan plints

Sharing matico/plant-knowledge emoliente/drinks quechua/language

DIALECTIC KNOT

SQUARE/ TRADING PAVILION A square emerges as a reoccupation of an ancient ground where pilgrims used to wait before going to the oracle. The square will comprise a trading pavilion built on a sequence of pillars of an Inkan roof structure, providing a new ceiling to accommodate stalls and hold different kind of Andean cultural expressions such as sharing knowledge of food, drinks, language and so on.

Learning thread

Re-assembling stalls displayed in relation to the main structure, alludes to the (im)permanence and multiplicity of ancient pilgrims in the place. The scale of the pavilion allows the articulation of surrounding spaces of the square such as: workshop spaces marking the underground adobe platforms once used for making, seating areas marking undefined underground traces, and a differentiated pavement treatment for areas of ceremonial and burial remains.

This series of spaces will be prelude for a flexible stage linked to the procession thread, where dances and cultural manifestations merge with general visitors.

66

RITUAL ATRIUM

ce ground

Procession thread Learning thread Ari tatay

Threshold - Art installation knotting to enter

Procession thread

Performance ground - Large groups

Workshops - mid size groups Stalls - small size groups Stone pavement treatment - Ceremonial area

Interpretative art elements

Seating - all sizes

Traces of fi

rst wall

Performance ground

Procession thread

Allillanñachu kanki?

Learning thread Ari tatay

Threshold - Art installation knotting to enter

Procession thread

Shrine

SALUTATION AND RITUAL ATRIUM An atrium will consolidate two modes of arrival to the Temple of the sun, located on the ridge of the plateau.

On one hand, the ritual atrium will receive the procession thread with an inward balustrade oriented to a central sunken shrine where rituals are performed.

On the other hand, a salutation atrium will receive the learning thread, oriented by an outward balustrade and a central sculpture inviting the resignification of Pachacamac. Both interpretative elements link mythological narrative with the surrounding landscape.

Both parts of the atrium will be articulated by steps and a hallway which will act as interface allowing the privacy of the ritual place and its co-existence with the general public.

Special stone pavement treatment will mark the peak of planet movements through lines projected across the atrium. This knot aims to celebrate the encounter with the oracle and stars, providing accessibility and contemplation to reterritorialise seasonal ritual practices. It also consolidates the place of salutation at the arrival to the ridge.

L

r ea

g

nin

d

ea

thr

Temple of the sun RITUAL ATRIUM

SALUTATION ATRIUM

Fog-infiltration with tillandsias

CEREMONIAL KNOT

Inward balustrade Steps and hallway as interface

Outward balustrade Interpretative element

P2

Fog garden

Loop around the temple

le

p Tem Pachacamac sculpture

Stone pavement treatment marking lines of peak planet movements

Brick pavement treatment marking ritual entrance to the temple

he of t

Sun

CEREMONIAL KNOT Inti Raymi celebration on 21 June

70

5. RE-ASSEMBLING THE ORACLE

71

WATER KNOT First Sunday of the Month. Open day in Pachacamac.

21 September

72

5. RE-ASSEMBLING THE ORACLE

73

SENSORIAL THRESHOLD DETAIL Native reforestation along water threshold (Whaley & Orellana, 2010)

74

5. RE-ASSEMBLING THE ORACLE

75

TRADING PAVILION DETAILS

kiln-dried Tornillo, a hardwood resistant to humidity, supports a light structure.

Fabrics for shading hang from side to side, until anchor points.

Sequence of new structure is built based on the traces of Inkan roof structure traces.

New pavement stitches traces with new uses New brick platforms allow inhabiting in between pillars, reusing them as seating nodes Inkan pillar traces are covered by a stone case of 1x1x0.3-0.5 (LxWxH) made by the archaeologist for protection on the traces inside.

New pavilion structure could be anchored with a suggested distance of 1m 76

5. RE-ASSEMBLING THE ORACLE

ATRIUM DETAILS

SALUTATION ATRIUM Border for interpretation allows flexible uses to be oriented and bodily supported to the panoramic view.

RITUAL ATRIUM Border inward oriented allows different heights to participate/observe performances.

INTERFACE The distance between both parts of the atrium are articulated by steps and a hallway, which mediates creating an space for contemplation while hidden views to the ritual centre.

77

CONCLUSION This thesis proposes to visibilise spiritual and ecological factors related with indigenous traditions at the moment of working with cultural heritage.

Pachacamac is a monumental site that presents the opportunity to address responses to celebrate, activate, reoccupy, reterritorialise and reemerge past meanings and current values that have been unseen by the impact of colonialism and coloniality.

This project is not expecting to bring fix solutions to heritage conservation, but to visibilise new spatial opportunities to discuss Indigenous legacy in a metropolitan context.

In this context, the design response is offering a reassemblage of past, present and future by designing three different kind of grounds, which are led by seasonal underground water movements and the traditional knowledge associated to it; visible and underground traces for new spaces that emerge from historical significance; and interpretative landscape elements on pavements, borders and interactive art spots.

This open-ended design examples seek to give a place to re-emergence of spiritual ecology, the reappropriation of meanings and practices to promote the flourishing of intergenerational and intercultural memories, envision new futures through the dialogue, ritual and learning for indigenous and non-indigenous people in/with this landscape setting.

78

5. RE-ASSEMBLING THE ORACLE

79

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Segura, R. & Shimada, I. (2010). Pachacamac as an Embodiment of Water and Life Cycle. Symposium “The Archaeology of Huacas: Exploring materiality, meaning and efficacy of sacred objects and places in the Andes”. Retrived from https://www.academia. edu/7725585/Pachacamac_as_an_Embodiment_of_ the_Water_and_Life_Cycle

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Pozzi-Escot, D., Oshiro, J., Romano, G., Capozzoli, L., Lasaponara, R., & Masini, N. (2018). Traces in the desert: Use of new technologies for the study and valorization of the Pachacamac sanctuary—Lima, Peru.

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85

LIST OF FIGURES COVER: collage based on:

Fig. 15. Museo de Sitio de Pachacamac. (2019). Visitantes.

Retrieved from http://picpanzee.com/museopachacamac

- Aerial View of the Site on April 2012. (2019). Google Earth.

Fig. 16. Jara, C. (2019). Photography of traces of buildings

from site visit August 2019.

- Jara, C. (2019). Textures from site visit August 2019.

- Grupo Pachacamac. (2019). Inti Raymi en la Waka Pachacamac. Retrived from https://www.facebook.com/ grupopachacamac/

Fig. 17. Grupo Pachacamac. (2019). Inti Raymi en la Waka

Pachacamac. Retrived from https://www.facebook. com/grupopachacamac/ Fig. 18. Studio Tom Emerson. (2018). Pachacamac Film.

Retrieved from https://emerson.arch.ethz.ch/

ACKNOWLEDGEMENTS Fig. 1-3. Studio Tom Emerson. (2018). Pachacamac

Film. Retrieved from https://emerson.arch.ethz.ch/

Fig. 19. Rosa Lagos bravo. (2019). Visita a Pachacamac.

Retrieved from http://picpanzee.com/rosa_lagos_bravo

Fig. 4. Grupo Pachacamac. (2019). Inti Raymi en la Waka

Pachacamac. Retrived from https://www.facebook. com/grupopachacamac/

Fig. 20. Museo de Sitio de Pachacamac. (2019). Mask

of Pachacamac. Retrieved from http://picpanzee. com/museopachacamac

CONTENTS

Fig. 21. Luis Enrique Santiago. (2019). Mirando. Retrieved

from http://picpanzee.com/santiagoluish47

Fig. 5. Museo de Sitio de Pachacamac. (2019). Tie

Dye textile. Retrieved from http://picpanzee.com/ museopachacamac

Fig. 22. Dante Ayala. (2019). Fiesta nocturna. Retrieved from http://picpanzee.com/danteayalaperu

2. METHODOLOGICAL APPROACH

Fig. 23. Museo de Sitio de Pachacamac. (2019). Visita

nocturna. Retrieved from https://www.facebook. com/museopachacamac/

Fig. 6. Jara, C. (2019). Qhipu model.

Fig. 7. Museo de Sitio de Pachacamac. (2019). Qhipu.

Retrieved from http://picpanzee.com/museopachacamac

Fig. 24. Carlos Ausejo. (2019). Museos Abiertos. Retrieved

from https://twitter.com/CarlosAusejoC

3. DESIGN PRINCIPLES

Fig. 25. Lu. (2019). Ceremonia. Retrieved from http:// picpanzee.com/superadicta

Fig. 8. Jara, C. (2019). Qhipu model.

4. MAPPING LANDSCAPE FACTORS

Fig. 26. Grupo Pachacamac. (2019). Inti Raymi en la Waka Fig. 9. Existosa. (2019). Qori Sisicha, scissor dancer in

Pachacamac. Retrived from https://www.facebook.

Pachacamac. Retrived from https://exitosanoticias. com/grupopachacamac/ pe/v1/mi-pedido-antes-de-irme-de-este-mundo-es- Fig. 27. Grupo Pachacamac. (2019). Inti Raymi en la Waka la-casa-del-danzante-de-tijeras/

Pachacamac. Retrived from https://www.facebook.

Fig 10. Inte-PUCP. (2014). Kawsaypacha 2014 – Diálogos com/grupopachacamac/

sobre la Tierra Retrived from http://inte.pucp.edu.

Fig. 28. Sustainable Preservation. (2019). Bici Tour

pe/en/noticias/kawsaypacha-2014-dialogos-sobre-

Pachacamac.

Retrived from http://www. la-tierra/ sustainablepreservation.org/bicitour Fig. 11. Pinasco, A. (2018). Oráculos, peregrinos y Fig. 29. Carlos Ausejo. (2019). Museos Abiertos. Retrieved

calendarios en el Santuario de Pachacamac.

from https://twitter.com/CarlosAusejoC

Pluriversidad, 1(1), 155–175. https://doi.

Fig. 30. Museo de Sitio de Pachacamac. (2019). Taller

Emboquillado. Retrieved from http://picpanzee.com/ museopachacamac

org/10.31381/pluriversidad.v1i1.1677 Fig. 12. Ministerio de Cultura. (2012). Textiles de Pachacamac. Lima: Ministerio de Cultura

Fig. 31. Museo de Sitio de Pachacamac. (2019). SISAN. Retrieved from http://picpanzee.com/museopachacamac

Fig. 13. Jordan, F. (2004). Composición iconográfica de la

parte inferior del ídolo de Pachacamac. In Poder

religioso, crisis y prosperidad en Pachacamac

del Horizonte Medio al Intermedio Tardio.

Arqueología de la Costa Central del Perú en los

Periodos Tardíos. No 33, Vol 3, pp 465-506.

Fig. 32. Museo de Sitio de Pachacamac. (2019). Inti Chacra.

Retrieved from http://picpanzee.com/museopachacamac Fig. 33-35. Scape Studio. (2019). Rio Seco Linear Park.

Retrieved from http://picpanzee.com/scape_studio

Fig. 14. Pinasco, A. (2019). Pachacamac, Templo, Montaña,

Astros y Agua. Lima: Universidad Ricardo Palma

Editorial Universitarial.

Fig. 36-38. Opazo, R. (2019). Parque Urbano Kaukari. https:// www.plataformaarquitectura.cl/cl/629488/kaukari- urban-park-teodoro-fernandez-arquitectos 86

6. REFERENCE LIST

Fig. 39-41. Jara, C. (2019). Site visit to Sacra di San Michele,

September 2019.

Fig. 79-86. Jara, C. (2019). Hand drawings of site visit to

Pachacamac, August 2019.

5. RE-ASSEMBLING THE ORACLE

8. APPENDIX 2

Fig 42. Museo de Sitio de Pachacamac. (2019).

Textil de aves. Retrieved from http://picpanzee.com/ museopachacamac

Fig. 87. Pendergrast, M. (1999). Te Aho Tapu. The Sacred

Thread. Traditional Maori Weaving. New Zealand:

Reed Publishing.

Fig. 43. Jara, C. (2019). Qhipu model.

Fig. 88. McKinnon, M., Bradley, B., Kirkpatrick, R. & New

Zealand. Department of Internal Affairs. Historical

Branch. (1997). Bateman New Zealand historical

atlas = Ko papatuanuku e takoto nei. Auckland,

N.Z.: D. Bateman in association with Historical

Branch, Dept. of Internal Affairs.

Fig. 44-46. Jara, C. (2019). Pachacamac clay model.

Fig. 47-48. Google Earth. (2019). Av. Antigua Panamericana.

Fig 49-50. Andina. (2019). Calle Norte/Sur. Retrieved

from https://andina.pe/agencia/noticia-ofreceran- charla-sobre-importancia-de-ciudadela- Fig. 89. Clark, K. J. (2017). Mapping of Active Faults and pachacamac-el-antiguo-peru-396646.aspx

Fault Avoidance Zones for Wairoa District: 2016 Fig 51. Jugamos Todos. (2019). Pachacamac. Retrieved Update. GNS Science Consultancy Report

from https://twitter.com/jugamostodos 2016/133.

Fig 52. Viatty. (2019). Ciudadela Arqueologica de

Pachacamac. Retrieved from https://viatty.com/ viajes-a-peru/ciudadela-arqueologica-de-pachacamac/

Fig. 90. Carlotto, V. et al. (2009). Geotectonic domains as

tool for metallogenetic mapping in Perú. Bol. Soc.

Geol. Perú. Vol 103: 1-89.

Fig. 53. Museo de Sitio de Pachacamac. (2019). Festividad.

Retrieved from http://picpanzee.com/museopachacamac

Fig. 91. Staff, W. (2017). The Pacific ring of Fire. Retrieved

from http://www.dianaswednesday.com/2018/11/ climate-change-natural-disasters/pacific-ring-offire

Fig. 54-55. Jara, C. (2019). Photography of main entrance.

site visit August 2019.

Fig. 92. Coffey, R. (2019). Austronesian expansion. Retrieved

from http://infomapsplus.blogspot.com/2015/10/ polynesia-visual-quick-study.html

Fig. 56. Andina. (2019). Calle Norte/Sur. Retrieved from

https://andina.pe/agencia/noticia-ofreceran-charla- sobre-importancia-de-ciudadela-pachacamac-el- Fig. 93. Morris, R. (2019). How to grow seet potatoes.

antiguo- peru-396646.aspx

Retrieved from https://www.realestate.com.au/ lifestyle/how-to-grow-sweet-potatoes Fig. 57-61. Jara, C. (2019). Site visit August 2019.

Fig. 94. TranspacificProject. (2019). Transpacific Boats and

Ships. Retrieved from http://www. transpacificproject.com/index.php/ocean-sailing- craft

Fig. 62. Martinez, J. (2019). Google maps photos. Retrieved

from https://www.google.com/maps/contrib/ Fig. 63. Chevara, Y. (2019). Google maps photos. Retrieved

from https://www.google.com/maps/contrib/

Fig. 95. Roullier, C., Benoit, L., McKey, D. & Lebot, V. (2013).

Historical collections reveal patterns of diffusion

of sweet potato in Oceania obscured by modern

plant movements and recombination. PNAS. Vol.

110 (6), p. 2205-2210.

Fig. 64. Jara, C. (2019). Site visit August 2019.

Fig. 65. Espinel, A. (2019). Google maps photos. Retrieved

from https://www.google.com/maps/contrib/ Fig. 66. Eric, G. (2019). Google maps photos. Retrieved from https://www.google.com/maps/contrib/

Fig. 96. LandMark. (2019). Global Plataform of Indigenous

and Community Lands. Indigenous land

acknowledge by Government. Retrieved

from https://native-land.ca

Fig. 67. Jara, C. (2019). Site visit August 2019.

Fig. 68. Janainamello. (2019). Pachacamac. Retrieved from http://picpanzee.com/janainamello

Fig. 97. Roberts, M. (2012). Mind maps of the Maori.

GeoJournal, 77(6), 741–751. https://doi. org/10.1007/s10708-010-9383-5

7. APPENDIX 1 Fig. 69-71. Jara, C. (2019). Photography and hand drawing

during site visit August 2019.

Fig. 98. Jara, C. (2019). Hand drawings of site visit to

Ruatoki, February 2019.

Fig. 70-73. Museo de Sitio de Pachacamac. (2019).

Objetos encontrados en Pachacamac. Retrieved

from http://picpanzee.com/museopachacamac

Fig. 99. Jara, C. (2019). Collage based on illustrations of

Dennis Turner.

Fig. 74-78. Jara, C. (2019). Photographs of site visit to

Pachacamac, August 2019.

87

REFERENCES FOR MAPS Intersectional Networks - 1:75000 @A3 HISTORICAL MAPS Biblioteca Nacional Digital. (2019). Plano del fondeadero del Callao de Lima y de la costa inmediata, desde los farellones de Pachacamac hasta las Islas Hormigas [material cartográfico] construido por los Comandantes y Oficiales de las Corbetas. Descubierta y Atrevída en 1790 y publicado en la Dirección Hidrográfica año 1811. Retrived from http://www.bibliotecanacionaldigital.gob.cl/bnd/631/w3article-354275.html Biblioteca Nacional Digital. (2019). Plano de los terrenos comprendidos entre Lurin y Lima que contiene la esplicación [sic] de las operaciones militares de San Juan, Chorrillos y Miraflores [material cartográfico] levantado según la orden del Ministro de la Guerra en campaña por Augusto Orrego, 1881. Retrived from http://www.bibliotecanacionaldigital.gob.cl/bnd/631/w3-article-311951.html Ludeña, W. (2006). Barrio y ciudad. Historiografia urbanistica y la cuestion del dominio de referencia. El caso de Lima. Bitacora 10, No 1, pp 82-105.

The Great American Grid. (2019). Map of Lima, Peru in 1750. Retrived from http://www. thegreatamericangrid.com/archives/2043 GIS DATA Geo GPS Peru. (2019). Areas Naturales Protegidas (Protected Natural Zones). Retrived from https://www. geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Acuiferos (Aquifers). Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Curvas de nivel (Contours). Retrived from https://www.geogpsperu.com/p/ descargas.html Geo GPS Peru. (2019). Comunidades Campesinas (Peasant Communities). Retrived from https://www. geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Cuerpos de Agua Marino Costero (Marine Bodies). Retrived from https://www. geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Ecoregion. Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Rios (Rivers). Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Calles (Roads). Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Riesgo de Tsunami (Tsunami Risk). Retrived from https://www.geogpsperu.com/p/ descargas.html Geo GPS Peru. (2019). Cuenca (Watershed). Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Zonas de Vida (Zones of life). Retrived from https://www.geogpsperu.com/p/ descargas.html AERIAL IMAGES Google Earth Pro. (2019). Lima, Perú.

Pachacamac Site Analysis - 1:15000 @A3 DISTRICT MAPS Municipalidad Distrital del Lurin (2016). Plano Urbano del Distrito de Lurin. Retrived from http://munilurin.gob. pe/distrito/mapas-de-lurin.html Municipalidad Distrital del Lurin (2017). Zonificacion de Uso de Suelo. Retrived from http://munilurin.gob.pe/ distrito/mapas-de-lurin.html HISTORICAL MAPS Marsumoto (2019). The Archaeological Site of Pachacamac. Retrived from http://www.pachacamac.net/maps/ largemap.pdf

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6. REFERENCE LIST

GIS DATA Geo GPS Peru. (2019). Aquifers. Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Calles (Roads). Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Contours. Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Rivers. Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Roads. Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Tsunami Risk. Retrived from https://www.geogpsperu.com/p/descargas.html Geo GPS Peru. (2019). Watershed. Retrived from https://www.geogpsperu.com/p/descargas.html

Foundational Traces - 1:5000 @A3 ARCHAEOLOGICAL SITE PLAN Plataforma arquitectura. (2019). Parque Pachacamac. Retrived from https://assets.adsttc.com/content_files/ PARQUEPACHACAMAC_Bases.pdf HISTORICAL MAPS/REGISTER Instituto Nacional de Cultura. (2010). Arqueología de Lima: Pachacamac. Retrived from http://pachacamac. cultura.pe/sites/default/files/arqueologia_de_lima.pdf Pinasco, A. (2019). Pachacamac, Templo, Montaña, Astros y Agua. Lima: Universidad Ricardo Palma Editorial Universitarial.

Pozzi-Escot, D. (2017). Pachacamac: el oráculo en el horizonte marino del sol poniente. Lima: Banco de Crédito.

Pozzi-Escot, D. & Oshiro, J. (Eds.). (2015). Urpiwachaq: Gestión y puesta en valor de la laguna. Lima, Perú: Ministerio de Cultura: Universidad del Pacífico.

Shimada, I., Segura, R., Rostworowski, M., & Watanabe, H. (2004). Una nueva evaluación de la Plaza de los Peregrinos de Pachacamac: Aportes de la primera campaña 2003 del Proyecto Arqueólogico Pachacamac.

Bulletin de l’Institut français d’études andines, (33 (3)), 507–538. https://doi.org/10.4000/bifea.5106 GIS DATA Geo GPS Peru. (2019). Rivers. Retrived from https://www.geogpsperu.com/p/descargas.html AEREAL IMAGES Google Earth Pro. (2019). Lima, Perú.

Site Today - 1:5000 @A3 ARCHAEOLOGICAL SITE PLAN Plataforma arquitectura. (2019). Parque Pachacamac. Retrived from https://assets.adsttc.com/content_files/ PARQUEPACHACAMAC_Bases.pdf ON SITE MAPPING GIS DATA Geo GPS Peru. (2019). Rivers. Retrived from https://www.geogpsperu.com/p/descargas.html AEREAL IMAGES Google Earth Pro. (2019). Lima, Perú.

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APPENDIX 1 PACHACAMAC FIELD WORK August 2019

IMAGES OF SITE Fig. 74. Closed access to North/South Street.

Pachacamac Old at the end Temple

Fig. 77. Acllawasi Temple and the lowland area

Fig. 76. Assemblage of materials of diverse epochs

Fig. 75. Inkan stone structure

7. APPENDIX 1

Fig. 78. Panoramic view of the Temple of the Sun in second coastal line

93

SKETCHES OF SITE

Fig. 79. From the highest plateau, the monumental scale of Pachacamac is marked by the tight interfaces with surrounding settlements

Fig. 80. Sequence of Inkan pilar structure traces give scale to the vast ground of Pilgrim Square

Fig. 81. The smooth sloped terrain allows open views to the Pacific Ocean from further inland.

7. APPENDIX 1

Fig. 82. The Lurin river appears as the natural limit, bringing the visual relationship with mountains, and the spiritual relationship with the Tutelar Apu (sacred mountain) Pariacaca.

95

Fig. 83. From the entrance, is the mundane realm level. The temple of the Sun crowns the place, while the Acllawasi temple acts as a plinth to the lower realm.

Fig. 84. The prolongation of North/South Street along the hole site alludes to the monumentality that links the Qhapaq Ñan to the Ceremonial core, while crossing several gates.

7. APPENDIX 1

Fig. 85. The silence of the place is only irrupted by far noise from the coastal activity. Humidity feels like 100%.

Fig. 86. North/South street was the entry avenue to the encounter with the oracle, receiving pilgrims from different parts of the Andean world

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REGISTER OF CONVERSATIONS

José Canziani Architect and Urbanist, assessor of Pachacamac Archaeological Site The Andean worldview is dual quadripartite. Analogous to the Andean worldview is the ona-selkman culture, Anne Chapman in Lain’s cabin describes it according to spatial orientations. The door of the place facing north, corners towards the cardinal points and the fire in the middle, which is the mediator between the world below and the one above. Similar structure happens in Cuzco with the division according to Suyos. In each Suyo it is located a group co-related to its geographical origin, reproducing a microcosm.

In the Amazon there was a different structure, which was radial. The first layer was the person, the second was the territory and the third the unknown, the external. To hunt you had to ask permission, for this reason, offerings were made and pleaded. They only took the what they needed, there was a care for nature. Viveiros talks about perspectivism, that beyond imagining the landscape, they told each other how they looked, and how they saw animals in analogy to human beings, they considered them as human.

The Andean people were landscape designers, it was not only that they planted, but that there was also a greater planned arrangement. At the same time, they made representations of the landscape such as la piedra Maqueta (the model stone).

As for the huacas, the buildings were for consecrating them, they were anchored to the hill.

In Lima there is the following process: 1. The great fracture / de-territorialization 2. Colonial city / re-territorialization 3. Republican / Industrial Endowment 4. Modernization / infrastructure is primarily imposed

Qhapac Ñan has the luxury of having archaeological sites from the formative and late period.

Pachacamac value initiatives: 1. Metropolitan area: counterpoint to huaca Paraiso on the Chillón river. Pre-ceramic monumental architecture.

Proposal to give a break to the metropolis in these types of peri-urban spaces.

2. Neighborhood of direct interface: Cultural park, trade activation, major circuit. Pachacamac contest seeks to solve that.

3. Archaeological scope: Pavilion and current circuit more restricted to vehicles 4. Ecological scope: Urpiwachaq Lagoon and cleaning and maintenance processes.

5. Educational field: Workshops of various types associated with pre-Hispanic practices.

6. Symbolic-spiritual field: Pinasco and an educator who give an account of complementary uses in Astroarchaeology and neo Andean practices.

Challenges Interpretive path that is not the drive-in. Design of the narrative, intersections, rooms and meeting points. How do you walk again on North-South Street? Different groups, different access modes. How urban design intersects too.

Recommended texts: Javier Maderuelo – Paisaje, genesis de un concepto y Agustín Berque.

Gonzálo Portocarreto – El Pariacaca después de hombres y dioses.

Anne Chapman – Onas y Selknams/ La cabaña de Lain.

Eduardo Vivieros de Castro – La mirada del Jaguar.

7. APPENDIX 1

Giancarlo Marcone Archaeologist and Cultural Manager. Ex director of Pachacamac Site Museum for 25 years Pachacamac is going through a reinvention process. It has lost the ceremonial and sacred aspects. Currently, there are Pagos a la Tierra (payments to the land) taken out of context. That shows that its sacredness is recognized in some sectors, however, is not its Apu. The reason why its sacredness has survived was due to the Lord of Miracles, however, the site has more to it, it has an ancient wisdom.

Some time ago there were some posters that said, “visit is educational, not recreational”, today we are surrounded by blue signs that say it is heritage. There are no clear paths to access the space, it is unclear how to get to the sites.

The place has lost its meaning. In my personal case no, but in general, yes.

Pagos de tierra (land payments) still survive. This rite consists of an officiant, a drink, a cigarette, coca leaves and the earth, which may or may not have a fire. All the elements pass through all the members and it is offered to the earth. Then the hole is covered. It is currently transversal in society, what could be called Neo-Andean.

In Pariacaca, sacredness is more present at communal levels.

There is an invention of the term Sanctuary that comes from the Christian-Spanish framework, which is where much of the “unveiling the site” comes from.

At that point you can even question the foundational theory of archeology coming from Criollos (European descendants) and directly Westernized . For example, in the pre-Hispanic Andean worldview the sacred was not separated from the mundane.

Regarding the pilgrimage there are big questions. There is a loss of continuity and its understanding regarding its function. From an archaeological point of view there are three possible theories about the creation of Pachacamac.

1. The site was primarily Ychsma.

2. The Incas predominated over others.

3. Pachacamac and the cult of Inti existed simultaneously.

Pachacamac has a strategic position at the landscape level, where many realities intersect. To the point that it has been a block for metropolitan Lima, and it has even had a political preponderance: the torch leaves from Pachacamac.

Qhapac Ñan hovels the place, the valley, causing people to live in uninhabitable places, in gullies for example.

The road changes the landscape.

Regarding the Xauxa Pachacamac section, there are initiatives regarding participation and conservation.

There is tourism from Lima, especially in Cieneguilla, where Limans seek the sun in winter. Currently the road section does not have continuity. Regarding inbound tourism, there are doubts, since there is low accessibility and services. The muleteers of Pariacaca use the road.

Inti Raymi is a modern creation.

The huaca Mateo Salado is an example of neighborhood integration. Rosabella Alvarez talks about the use of these spaces in relation to the process / object.

Pachacamac has its own personality that dialogues with the Qhapaq Nan, but cannot be subject to it.

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REGISTER OF CONVERSATIONS

Janet Oshiro Archaeologist of Pachacamac Site Museum

Unknown name Labour and neighbour of Pachacamac Site Museum

Since 1950 Pachacamac Sanctuary has been national heritage.

The Sanctuary’s site museum deals with the social area, including education programs with local and Lima schools. They also run summer workshops for Seniors, Photo workshops for teenagers, SISAN, Khipu, ceramics and carving workshops. Additionally, the textile products from the community women’s workshop are sold in the site museum. All this with the purpose of making the museum interactive.

Pachacamac Sanctuary is included in the open museum program, which is very popular, allowing free entry on the first Sunday of every month. The SISAN women’s group also do educational activities.

The mythological content found in “Men and Gods of Huarochiri” is relevant to the understanding of the landscape. It is continuously repeated that water and wetlands are linked to the feminine and the earth to the masculine.

Tourism potential is appealing to the surrounding residents when there is a source of income that can bring them an immediate benefit. This would motivate them to protect the site, but they don’t identify themselves with the site. There is also no environmental awareness from the neighbors.

It is important to revalue the pre-Hispanic landscape elements such as water, the river, sea and mountains (Apus). Today’s question is relative to what is the new value? What does the river give me? How does the common citizen understand the river?

His grandfather was born in 1870 in Villa el Salvador.

His memory associated with the site is that he used it to shorten his way to the beach. Now that the site is fenced, he has to go around the long way. He currently works at the excavation site.

• Other comments on the general discourse of the surrounding residents is that the place is an obstacle, that it is empty and that it could be better used to build houses, a court or commerce. That despite spending their entire lives there, the place is foreign to them.

7. APPENDIX 1

Patricia Victorino Expert in Precolombian Peruvian Art

María Rostworowski and Richard Burger argue that there was a network of sub-oracles or subsidiary oracles, such as an archipelago. Suggested in the explanation of Chincha el camac.

In Rostworowski and the Lord of Miracles, the mobility of Pachacamac’s belief to Pachacamilla is pointed out, regarding a mural that refers to Pachacamac found on a wall in a house in the center of Lima made by an Afro descendant. The painting survived earthquakes and in the multiple attempts to be destroyed, it was not possible. For which divine reasons were attributed, establishing Pachacamilla as divinity, which is then taken by the Catholic church and is called The Lord of Miracles, named patron saint of Lima, all this within the process of the extirpation of idolatries.

In the Andean tradition, ancestors were revered as if they were alive. They were dressed, talked to and kept in mind all the time. In the process of extirpation of idolatries, that tradition was destroyed.

The landscape is not frequently represented in the preserved artistic expressions. Because they are rather abstract representations, it is sometimes possible to identify waves or fish for instance, but as part of the interpretation.

Regarding the Khipu there are two hypothesizes.

1. Used as a way of inventories, numerical representations, colors. 2. Information that can be read and reflects thought, words, it tends to the textual.

Topacu, a textile technique that was banned during the eradication of idolatries, moves towards the cara de urdimbre technique. That is where ideology survives today. Specifically, in Taquile of the Q’eros, where there is a textile tradition. The technique is changed as a

mode of resistance of a tradition that was banned.

Review George Kubler, who talks about the phenomenon of disjunction. On the one hand there is rebirth, on the other hand there is disjunction. There are two variations in it: Change shape / image but maintain meaning or maintain meaning and change shape / image.

Recommended reading: Cieza de León – La crónica del Perú Pedro Pizarro – La relacion del descubrimiento y conquista de los reinos del Perú Calancha – Coronica Moralizada del Orden de San Avgvstin en el Perv, con Svcesos egenplares en esta Monarqvia. 1639

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APPENDIX 2 PARALLEL TERRITORY OF ENQUIRY TUHOE STUDY CASE

OUTLINING THE TERRITORY OF ENQUIRY Instability of tectonics

Origin and movement of the plates around the Pacific Rim. Formation of instable geologies.

104 Fig. 88. Evolution of tectonics

Fig. 89.

105 Fig. 90.

Fig 92. Migration trends of Polynesian and Melanesian groups. (Coffey 2019) Fig. 91. Pacific ring of fire map showing the ocean basin. (Staff 2017)

Fig. 93. Sweet potato, original tuber from South America, spread widely in the Polynesian culture. (Morris 2019) Fig. 94. Transpacific boats and ships used in pre-Colombus era. (TranspacificProject 2019)

Fig. 95. Sweet potato diffusion map through Pacific ocean. Yellow arrows are the Polynesian transculture transmission. (Roullier et al.

2013)

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8. APPENDIX 2

Pre-European global connections.

A dialogue between coasts in the Pacific Rim

Fig 96. Indigenous land acknowledged ownership

This mapping exercise seeks to interrogate the (re) production of Traditional Environmental Knowledge in a global context, specifically in the area around the basin of the Pacific Ocean. Transpacific migrations circa 1000 BCE were connecting peoples of the areas of Micronesia, Melanesia and Polynesia, a movement that allowed the transmission of practices and methods such as food growing, ways of cooking, language, and others.

This map illustrates overlapped information about: 1. Tectonic landscape in the Pacific Ring of Fire.

2. Diffusion of the kumara or sweet potato from South America to the Pacific region in a pre-European era (Roullier et al. 2013).

3. Polynesian migration routes and different scopes through time.

4. Current Indigenous land right acknowledged areas.

The sweet potatoe route demonstrate the spreading of a knowledge around this tuber. From the incorporation as food base for many peoples in the Pacific basin until its variations of name across locations keeping a similar phonetic base through the territory.

Hawaii, Rapa Nui and Aotearoa were the three vertix of the Polynesian core consolidated 1500 BCE. Regarding the movements in the Southern hemisphere, the case of Aotearoa had only one direction of migration, creating the maori, a very unique culture due to its isolation. The case of Rapa Nui has been documentated as a steeping stone towards South America. (Jara, 2019b)

107

108

109

MAPPING LANDSCAPE FACTORS Parallelisms Macro-scale Location Place Coordinates Character Colonisation Politics Sovereignty Policies

Development Colonial society Culture Group Relevant figure Identity Current state Cosmovision Specific practice Current condition Social Challenge Field of action Opportunity Environmental Climate Rainfall Humidity Other Temperature Prevailing wind Seismic activity Site-scale

Ecologies Topographic Morphology Soil types Waterbodies

New Zealand

Peru

Ruatoki, Te Urewera, Whakatane District, Aotearoa/ New Zealand 38°7’S 177°3’E Transrural 250 years since British arrival (Cook - 1769) 112 years as independent ‘dominion’ Waitangi Treaty (1840) Waitangi Tribunal (1975) WAI 262 Waitangi Tribunal (2012) WAI 894 Global North White settler society Tuhoe, Maori sub tribe Tuhoe Living cultural tradition Aim for maintain identity Mauri, Whakapapa Traditional funerary practice out of practice Replaced by Western cemetery Rebuilt responsibility over land Practice of traditional knowledge Education, ‘tourism’, children Marine mild winter 1500mm annual

Pachacamac, Lurin Valley, Lurin District, Lima, Peru 12°15’S 76°54’W Metropolitan periphery 527 years since Spanish arrival

Presence of mist 12-14C average South west Active. Hikurangui subduction fault system Valley Sandy, loamy Whakatane river, creek and springs

Type of vegetation Temperate broad leaf forest Avi-fauna

110

198 years as independent state Politicas del Buen Vivir (1990)

Global South Settler society (?)

Mestizo, Spanish and pre-Inka mix Pachacamac Cultural assimilation Trend of inner colonialism Pacha, Sumaq Kawsay, chakana Oracle pilgrimage route/sanctuary out of use Archaeological site Integration of indigenous communities Identity, safety, natural environment ‘Tourism’, education, women Arid coastal desert, semi-warm 16 mm. Lack of rainfall all year round 69% Presence of mist 15-27C, 18.5C average Southerly 13.6 km/h Active. Fault between Continental and Nazca plates.

Coastal floodplains of Lurin River Sandy soil Uripiwachaq Lagoon Dry wetland network Herb/shrub vegetation Migration flyways

8. APPENDIX 2

111

TUHOE CASE

Places of power

COSMOSCAPE (Hubert 1996, Roberts, 2010)

The void Te Kore

(Barlow, 1991)

Types of Maori sacred spaces

Darkness Nga Po

Cosmic Genealogy

Supreme Being Io

Genealogy of Gods

Earth mother - Sky father Papatuanuku - Ranginui

Primal Genealogy

70 Gods 70 Atua

Genealogy Whakapapa

The Stars Te Whetu

Guardians Kaitiaki Genealogy of Canoes

Hawiki Polynesian homeland

First inhabitants Tāne-nui-a-Rangi and Hine-ahu-one

Rights from ancestral relationship with land Take tipuna

Local ancestor - Polynesian ancestor Tuhoe-potiki - Mataatua Tribe/iwi Ngai Tuhoe

1

Each identity changes depend racial and religious exp

TE UREWERA 2 4 locations Ruatahuna Maungapohatu Waimana Ruatoki

Sense of belonging in a landscape attachment - meanings Become [mountain-mist-ancestors] sacred

(Mead, 1997)

-

800-1200 1200-1500 1500-1800 1800

Consolidation of iwi alliances - 1820 Treaty of Waitangi - 1840 (non signed by Tuhoe) New generation of leaders

SITUATING TERRITORY Maori freehold land

Chronology in Te Urewera Polynesian seeds The growth The flowering The turning

“Wherever those mountains come from that’s where we come from. Wherever the mist emerges from and disappears to, Heritage/taonga that’s where we come from” under threat (Wai 894, 2017)

How can the practice can be reenacted, in a contemporary way, to re-appropiate/consecrate the land/forest?

Te Urewera National Park - 1954 Re-take responsability

BI CULTURAL SOCIETY

Self-determination

3

REVEALIN PLACE

Traditional place

Con

House for the deceased/whare mate or Communitary space/Marae or House

Hou dec or Com or Hou

Brou mara Plac facin

How nature is served?

COLONIALISM

Confiscation - 1866

Te Urewera - 2014 with legal personality - Maori freehold land

Carved Pa sites Canoe l Sacred Product Resourc Pathwa resourc Landsc Mytholo Historic Memori

BURIAL GRO URUPA/AH

Homeland in hidden enclave

UNDERSTANDING GENEALOGY

Altar tua Pathwa Mauri s

Sacred places Wahi Tapu

TERRITORY

Ohinemataroa - God Taniwha - Guardian

DEATH Burial g Caves Trees Mudflat Sources BIRTH Placent OTHERS Battle fi

Sovereignty Mana motuhake Current Cemetery Legislation 1. Burial and Cremations Act 1964 2. Resource Management Act 1991 3. Te Ture whenua Maori Act 1993

Precedents - Natural Burials in New Zealand (Makara, Otaki, Fairhall) - Harakeke caskets

Mountain or forest near a creek

Cem

Cave or tree within forest

Cem

grounds

ts s of water

MAORI EPISTHEMOLOGY & IDENTITY Whakapapa Time Spirituality Belonging Language Oral tradition Memories/ceremonies TEK Ancestral treasures/ Tonga tuku iho

Rituals related to death are the closest to precolonial practices. (Kaai, 2004)

ta burial S ields

ahu ays for messengers stones

poupou s and papakainga landing sites mountain, waterbody tive landscape mahinga kai ces site for art material ays connectig iwis with ces cape that determine boundaries ogical land cal sites ial sites

Tikanga Values, belieds and practices Maori tribal-specific way of doing

Gathering Hui

NG

mmunitary space/Marae

use

ught in by a window to ae? ced at the back wall feet ng the door

metery/urupa

metery/urupa

Political authority Mana tangata Economic authority Mana whenua Spiritual authority Mana wairua

PRACTICES Cleaning with water/horoi ringa. Landscape to spirit Hang in a tree. Body to landscape Final rest in a cave/tree. Spirit to landscape OBJECTS Cloak. Spirit to god Direction of the deceased body. Body to landscape Chants, oratory. Body, spirit to god Harakeke mat. Body to landscape kawakawa leaves around the head. Body to landscape Symbolic responses

ding on political, pressions

use for the ceased/whare mate

INTERPRETING MEANINGS Funerary ritual to landscape

Specific to each locality

OUND HA

ntemporary place

5

4

FUNERAL TANGIHANGA

DEATH TE MATE

Return to the earth Degradation rather than cremation.

Interment. Retelling of stories. Reafirmation of kinship relationships. Death as part of life

Deceased/tupapaku becomes a treasure/tonga

TRACKING PRACTICES

Detailed funerary practice

Wake Welcoming - powhiri Calling - karanga Speech - waikorero Wailing Chanting - waita tangi Link with spititual realm Oratory - karakia Preliminar performance Kanohi kitea Press noses/hongi Shake hands/ ruru Share tears/tangi Dying speech of a priest/tohunga (political and legal) - ohaki Feed and water the deceased - O-matenga Last night of gathering (more informal) - po whakangahau Interment Burial process Farewell speeches Washing hands/horoi ringa

WHO

Traditional practice up to 2 months Grief Tuku Wairua

Contemporary practice 3-days Grief Tuku Wairua

Wash Smoke Hang in a tree

Interment in an cemetery/urupa 6 feet underground

Rest til flesh decay 1-5 years Hahunga Gather the bones and washing ritual

People involved Family/whanau Visitors/manuhuri Expert practitioner/tohunga Women: karanga Men Children included

Hura Kohatu Unveiling ceremony

Final burial in a hidden tree or cave

Swamp, dunes, tree, cave, cemetery/urupa Clean with water After ceremony Feast/kai hakari as retribution Clean the house 1 day after After 1 year Revisit after 1 year - keep it safe from desecration Similar ritual than the funeral/tangi *Always present the use of water to clean/remove the tapu/horoi ringa

Kinship between land and people

1. Understanding Genealogy Iwi settlements and movements at 1820 Te Urewera as enclave

114 (Map based on Bateman 1999)

8. APPENDIX 2

Maori land ownership North Island (Map based on Reilly, 2018)

115

Mana is where you are, where you came from and the connection with your land. Mana grounds you, mana makes you solid. Mana reach you to your past, present and future

Fig. 98 Whakatane River

- Tama Iti -

Te Urewera Misty and mountain enclave in the center of the North Island, Te Urewera is recognised as one of the places that remain in more isolation due to its geographic condition. Which allows to maintain Tuhoe practices, values and ephistemology in a more original state.

Politic issues related to land disposition have been impacting not only to Tuhoe’s social network but also the spiritual realm. Nga Taonga Tuku Iho - The treasures pass over generations are objects and places considered sacred by maori Maps over time: Maori land Confiscation -1866 National Park Consolidation scheme - 1925 Maori Freehold land - legal personality - 2012

2. Situating territorial networks Te Urewera Changes over time

116

3. Revealing relational place Whakatane valley Maraes placed in a correlation between river and forest and its guardians

118

8. APPENDIX 2

119

3. Revealing relational place

120

8. APPENDIX 2

121

4. Tracking practices + 5. Interpreting cultural meanings

Tangihanga Portrait of a funerary ceremony by Dennis Turner in 1963.

Interplayed element creates a sequence of 4 stages that intertwine, objects, procession, places and landscape.

(Turner, 1963)

122

8. APPENDIX 2

123