Mourning in Mexico City

In the words of the architects, “We had to understand the mood of the user, who at such a moment would not care very much for an aesthetical analysis”. An awareness that the space will be used for peaceful grieving and solemn introspection is apparent in each of the buildings prudently chosen elements, from the notable lack of adornment, to the tranquil indoor courtyard, to the simple construction materials. To overcome their innately human “creator’s egotism” like this, and surrender entirely to the perceived emotions of the user, is in itself a great achievement for any architect.

Wanting to create a lasting sense of spirituality, Pascal Arquitectos looked to the spiritual architecture of antiquity, with much inspiration drawn from the ancient Egyptian mastabas and Mayan buildings at Palenque. Located at opposite ends of the ancient world, both are flat-topped stone pyramid structures purpose-built for the communal spiritual experience surrounding death, and have retained their aura of monumental reverence throughout the millennia. These Mayan and Egyptian influences are clearly evident in the Mourning House’s triangular tunnel entryway, all-over smooth granite surfaces, and double-height ceiling space, with daylight creeping in from the internal courtyard.

Uninterrupted introspection and a peaceful visual harmony are further encouraged by the discreet concealment of materials, amenities and lighting. To the observer, the only two apparent construction materials are Grissal flamed granite and dark russet-hued Cumaru or Brazilian Teak: in respect for the contemplative mood of the visitors, the space is literally devoid of visual distraction. In the words of architect Carlos Pascal, the hall is “an unoccupied stage that represents the emptiness of death; no material element must compete with what is happening”.

Entry to the building is via a triangular-shaped wooden door and dark, granite-lined access tunnel, 9 metres high and around 2 metres wide at its base, which opens out into the unadorned, cavernous, high-ceilinged hall, lit by northern light from the internal courtyard beyond. Unobtrusive alabaster-smooth granite covers nearly every internal and external surface of the structure, from floor to ceiling and ground to roof, easing the transition into the internal space and then out into the inner courtyard. Located internally like this, the courtyard preserves the outward streetside appearance of the Mourning House as isolated from its residential surroundings, which creates a sense of integrity and retreat most fitting for the building’s purpose. This courtyard also features the only deference to superficial decoration: a tall, typically Mexican Dracaena tree, and a simple wall-mounted abstract sculpture by Mexican artist Saul Kaminer make the small garden an alternative locus of contemplation. Back inside, additional light enters the hall via a skylight and recessed lighting, hidden behind the ceiling and bench seat respectively. The ceiling and bench, both made from the same deepcoloured Cumaru timber as the entry door and feature panelling, float peacefully in mid air, appearing not to touch the sheer granite walls at any point. The bench, which is the only ‘furniture’ in the space, runs around the perimeter of the wall, and also serves the ulterior purpose of concealing essential amenities such as recessed lighting, air conditioning and speakers. The overall effect is extremely discreet, a harmonious blend of heavy and light, sensitive to the introspection of the visitor.

Architect Carlos Pascal believes that in today’s world, the mindset of popular architecture is governed by a need to destroy and to build. No architect or architectural observer would deny this – buildings are there one day and gone the next, to be replaced by something bigger and better in the blink of an eye. But in Pascal’s mind, his Mourning House is different: “For us, this project in essence stands far away from all these rules. It is like few others, because it doesn’t exist for the capital-added value impulse, it is a mere contribution to society’s spirituality and formal play.” +

IMAGES Courtesy of Víctor Benítez

1 Stone, timber and light come together to create a mood that gently stimulates quiet contemplation without forcing visitors to think or move in any particular way. 2 Entry is via a towering triangular passageway that gives the visitor a sense of being sheltered and ushered into the interior space. 3 A Cumaru-panelled ceiling appears to hover unconnected from the walls, allowing overhead light to diffuse into every side of the room 4 Visiors can meditate on a garden view, thanks to the inner courtyard, with its sole Mexican Dracaena palm.