The Controversial Mayan Queen: Sak K'uk of Palenque (The Mists of Palenque) (25 page)

Two and a half katuns later, Pakal would have this scene immortalized in a lovely sculpted panel that adorned the back wall of his new Sak Nuk Nah. This panel was called “The Oval Palace Tablet” by scientists who later visited the ruins of Lakam Ha. The date of Pakal’s accession was commemorated in stone glyphs at several locations in the city:

Baktun 9, Katun 9, Tun 2, Uinal 4, Kin 8 on the date 5 Lamat 1 Mol.

(July 29, 615 CE)

The High Priest approached and handed Pakal the white jade K’awiil scepter. Taking the scepter in his right hand, Pakal lifted it that all below might see. He twisted his body to face the plaza and made scattering gestures with his left hand.

Throaty cheers arose from the crowd gathered in the plaza, followed by several rounds chanting their new ruler’s name and title.

“K’inich Janaab Pakal, K’uhul B’aakal Ahau!”

Pakal stood and moved regally to the edge of the palace platform. Standing between tall censers, carved with faces of K’in Ahau and Yum K’ax, he recited his dynasty’s long history and retold the story of their people’s creation, as his grandmother Yohl Ik’nal had done in the same place nearly a katun and a half ago. Lazy, fragrant smoke curled upward from censers as the people of Lakam Ha stood silently, rapt in the tale so beloved by all, the lilting cadences of Pakal’s strong young voice carrying them into the intoxication of trance.

Later most people indulged in more worldly inebriation during the feasting that lasted well into the night. Balche flowed freely and washed down savory stews of deer and peccary, simmered with squash and tomatoes, fragrant with spices of coriander, oregano, annatto and chile. Music and dance, conversation and story-telling filled their celebratory evening as the people of Lakam Ha rejoiced, for their royal dynasty continued in the inspiring form of this exceptional young ahau who brought promise of a bright future.

SAK K’UK – V

Baktun 9 Katun 9 Tun 5 –
Baktun 9 Katun 9 Tun 8
(618 – 621 CE)

1

The young architect stepped back from his model for a critical look. Slowly circling the table, he examined it from every angle making certain he had considered horizontal and vertical gravity loading in the design. He checked the model against drawings sketched on bark paper demonstrating the actual dimensions and heights of the structure. Once again he re-calculated the mathematics of gravity resistance by the axial forces generated by the compression and tension members (qualities) of the structural design. All seemed in order. The structure should stand solidly and resist natural stresses from wind and seismic effects.

Yax Chan recalled his conversations with K’inich Janaab Pakal, K’uhul B’aakal Ahau, leading to this exploration of new construction design. Pakal had dreams of building extensive new structures in Lakam Ha, as well as repairing and improving the older temples damaged in the Kan attack. The young ruler’s overall intention was to have taller temples and buildings with loftier roofs, higher arches and wider chambers. This posed an architectural challenge and spurred Yax Chan into a flurry of creative thinking. What techniques of building would permit higher arches capable of supporting chambers with wider roofs?

Maya buildings were constructed of cut masonry stone blocks using native limestone that had great compressive strength. Ancient technicians had invented the process of making hydraulic cement far in the past (300 BCE) using a firing kiln. The kiln was an assembly of self-consuming timber fuel in a geometric shape that induced very high temperatures by drawing oxygen rich air from below the wood into a central shaft. Small limestone blocks sat on top of the woodpile and the extreme heat changed their chemical composition. These were allowed to cool and be exposed to dew and rain, which expanded the stones into a dome of fluffy white powder several times the original bulk. This hydraulic cement was collected and ground into a fine powder, later mixed with water, loosely ground limestone and aggregate pebbles to create cast-in-place concrete. This was used as mortar for stonework and pavements, and stucco for plastering both exterior and interior walls of buildings.

Residential buildings had rectangular chambers with straight walls and often had multiple stories. Palaces were larger with more rooms and interspersed patios, some chambers residential and others for administration and reception purposes. Pyramids usually were constructed in stages, growing in size and height over time. Most did not contain functional interior spaces but were a mass of stone and fill material such as compacted clay, rubble, and broken pottery. The exterior façade was made of composite stone and concrete encapsulating the interior mass, stepped upward in three to nine levels and terminating in a temple platform, accessed by staircases leading from the ground to the top. When an existing pyramid was enlarged by later construction, a series of retaining walls were used to confine the new fill material, built just inside the perimeter of the new exterior. A new exterior skin was then applied, decorated and painted.

The key structural element that concerned Yax Chan was the arch that supported the chamber roofs, whether in pyramids, palaces or residences. This was the limiting factor in both the height and width of rooms. The huge gravitational pressures of building with stone required construction design that guaranteed adequate support. The Maya used a design called the corbelled arch. It was formed by stair-stepping successive blocks of masonry stone from the spring line (point where the arch begins) upward. Adding one block that protruded outward a little farther than the one below formed an upside-down stair, and gradually brought the wall of the chamber upward, until the two sides met in the center of the ceiling where a capstone was placed.

The vault created by this corbelled arch assumed an upward pointing wedge. It was not a true rounded arch and used different force dynamics to support the load of the ceiling. It required thick walls and an abutment to counteract the horizontal stresses generated by this gravity load. The chamber could neither be very wide nor tall. To meet Pakal’s requirements for new buildings, a different arch structure was needed.

An innovative arch structure was the subject of Yax Chan’s model. He had pondered the mechanical and gravitational forces involved, had made calculations and consulted other architects, and had arrived at an ingenious idea. By adding a high strength timber thrust beam, he could both raise the ceiling and thin the walls. This created a trapezoidal linear truss of great stability and strength. Due to its trapezoidal structure, this arch resisted large gravity loads through pure compression and tension members. Placing the timber thrust beam at the spring line of the arch, a tall ceiling wall could be angled inward to meet the opposite ceiling wall at the capstone.

The model chamber began at the foundation, its walls lined with stone masonry and filled with cast-in-place concrete. When the height for beginning the arch was reached and the concrete had hardened, the timber thrust beam was placed to span the two walls and inserted deep into the walls. The exterior wall continued straight upward, while the interior began its inward angle using pinion shaped stones carved to form a smooth slope where their faces met. Concrete was put inside after the placement of several pinion stones and allowed to harden. This process continued until the interior walls were close enough to place the capstone. The interior walls thus formed a smooth ceiling that later was covered with plaster. If an especially tall arch was desired, a second timber thrust beam could be inserted some distance above the first.

Timber with long-term resistance to insects and degradation, with dense fibers of high strength, was readily available in such trees as the zapote and mahogany. The tensile strength was similar to low-grade steel and many beams continued to hold ceilings in place long after the Maya no longer occupied their great cities. Although Yax Chan could not imagine this distant future, his goal was to engineer a structural spanning system for permanency, as well as one with inherent strength capable of resisting large levels of vertical and lateral gravity loading. This he believed he had accomplished.

With both eagerness and trepidation Yax Chan revealed to Pakal his model chamber with its innovative trapezoidal linear timber truss. Even in its small size, Pakal could see that the proportions created a sense of harmony. The slender walls and smoothly angled interior ceiling were elegant, and the greater width brought spaciousness to the chamber. Yax Chan explained the principles used in creating the trapezoid.

“This is excellent, Yax Chan,” Pakal said as he circled the model. “It is clever to use a thrust beam to give more strength and stability. How did you think of this?”

“After much time visualizing corbelled arches, I kept seeing the shape of a triangle,” Yax Chan replied. “I imagined the triangle getting larger and larger, but soon the ceiling would collapse. After watching many ceilings fall in my mind, it occurred to me that adding something to support the walls might help hold them up. This idea led to the thrust beam.”

“Remarkable. We do already use hard wood timber for door lintels, and these timbers are known to last for baktuns.”

“Just so. The strength of the hard wood is not much less than stone.”

“Your use of pinion stones is also fascinating. Why this did not occur to our builders before is strange, for they have long used pinions in wall and bridge structures,” Pakal observed.

“Yes, to achieve a resistant yet smooth façade. Then plaster can be applied and painted, or carved panels can be attached. I too wondered why no builders have used pinion stones to create interior chamber ceilings,” said Yax Chan.

“Possibly because only the corbelled arch was used for chamber ceilings,” Pakal offered. “The stepped stones make it impossible to apply plaster for a smooth surface. With your new approach, we can now have murals and paintings on ceilings. This appeals greatly to me.”

Pakal traced his finger along the exterior roofline. The four sides of the roof sloped gently upward to meet the border framing the rooftop.

“Why is the roof slanted?” he asked. “All the temple roofs I have seen are square and flat.”

“The interior arch construction functions better with a sloped roof,” Yax Chan explained. “The roof runs parallel to the interior slope of the vault inside. This reduces the gravity weight of roof masonry stone, thus making the structure more resistant to collapse. It allows the walls to be thinner, rooms wider and entryways larger. It also adds an esthetic quality, giving the structure an upward thrust and creating an illusion of lightness.”

Pakal re-examined the model, both exterior and interior. He stood back and viewed the roofline from several angles.

“That is so, it does create an impression of lightness and elevation,” he agreed. “Making the roofline sloped is brilliant. It is truly pleasing to the eye.”

The two young men gazed in silence at the model, each lost in his thoughts. Pakal spoke first.

“You are quite certain that the force dynamics will hold up in a full-scale building?”

Yax Chan spread his palms and gestured to signal his personal view.

“Many times have I re-checked my drawings. There I can find no errors, certainly by mathematical and geometric calculations this trapezoidal linear truss should support many forms of buildings. We will know beyond doubt when one is built.”

“Then let us proceed with building. It is time for Lakam Ha to begin its restoration. Your design must be presented to my parents, who may want to review a construction program with the Council. Some still resist putting our resources into building when we have not yet restored our orchards and fields to full production.”

Yax Chan bowed his head, but not before Pakal caught an expression of disdain. The young ruler smiled and placed a hand on the architect’s shoulder.

“Many lack your imagination and do not share my vision for a grander city,” he said. “They are caught in the energy of limitation and scarcity. It is difficult for them to see how expansion through creating beautiful new structures will change the attitudes of our people and others in the polity; will draw resources and manpower to us that will launch the city into a new era.”

Yax Chan met Pakal’s eyes and shared his smile. There was another idea he had yet to mention, but hesitated because it was not fully developed. Pakal sensed this.

“Have you other ideas about building?” he asked.

“This is now just a thought, an image in my mind,” said Yax Chan. “I have not yet made drawings or models, but I think it is something you would appreciate, especially in terms of creating beautiful structures.”

“Then you must tell me, I am interested.”

“It is a new way to construct roofcombs. With longer and wider chambers on top of pyramids, there will be longer and stronger rooflines to support tall superstructures. What if we could build lighter and more open roofcombs that would be elegant and graceful? It would be possible using hollow spaces between the opposing faces and making many openings in the faces themselves. This open matrix would allow light and wind to penetrate through the roofcomb. It would also minimize lateral and vertical loading and make roofcombs less susceptible to wind and seismic forces. We could have larger roofcombs that are lighter and more attractive.”

Pakal reflected on these ideas and immediately saw the advantages.

“Yes, this would be very good. It will give additional height to pyramid-temples so they truly soar to the skies, and allow artistically crafted carvings to dance among sunrays. Mirrors could be used to amplify light effects. With wind freely blowing through the open matrix, we could attach wind chimes to project lovely melodies across the plazas. It is as you suggest, Yax Chan, a way to enhance the magnificence of our structures. Bring me drawings as soon as you can.”

Yax Chan crossed both arms on his chest and bowed deeply. He was going to enjoy working as chief architect for the new ruler.

2

Sak K’uk was glad for the outing with her son. Although they were together more often since his accession, their interaction was mostly formal as they conducted the activities of the royal court and the Popol Nah-Council House. Sak K’uk and Kan Mo’ Hix acted as co-regents with Pakal, advising him and making joint decisions as he honed his skills and gained experience administering the city of Lakam Ha. In the ten tuns that passed since Lakam Ha’s axing by Kan, the political structure had been largely restored as the city’s ahauob coalesced behind Pakal’s rulership. Nobles brought regular tribute to support the activities of the royal court, courtiers attended the ruler and his family in daily gatherings in the throne room, and the Popol Nah met regularly to address issues that affected their city’s operations.

Most of the agricultural lands and orchards had regained their former productivity. Surplus food increased and this spurred trading with other polity cities. Frequent visits by traders plying their long dugout canoes down the river network brought many valued items from distant mountains and coastal regions. Several B’aakal cities that had fallen away from bringing tribute mended their ways, seeing the progressive recovery of their May Ku city. Usihwitz and Yokib, however, remained recalcitrant and did not send emissaries with tribute. Traders reported that these cities were ever more tightly drawn into the net of Kan.