Integrating contemporary art with the landscape in a dialogue between human creation and the natural environment, the Sculpture Space of the National Autonomous University of Mexico (UNAM) represents one of the most important public artworks in Latin America. Both the Sculpture Space and the Pedregal de San Ángel Ecological Reserve at UNAM in Mexico City have recently been awarded the Carlo Scarpa International Prize for Gardens 2023-2024, granted by the Benetton Foundation for Studies and Research based in Treviso, Italy. They were recognized for their high natural, historical, and cultural value as works of preservation and collective art that emerged from a lava surface where new neighborhoods and UNAM’s University City were developed.
To the south of Mexico City lies Ciudad Universitaria, the main campus of the National Autonomous University of Mexico (UNAM), covering an area of 730 hectares, with 176.5 hectares comprising the Central Campus, inaugurated in 1952. The Pedregal de San Ángel Ecological Reserve was established in 1983, placing 237 hectares under the protection of UNAM, located in the southwestern part of the university’s boundaries. Formed by the eruption of the Xitle volcano, the Ecological Reserve primarily consists of volcanic lava, diverse vegetation, and wildlife native to the ecosystem. Although 90% of the reserve is closed to visitors to ensure its conservation, access is permitted to the remaining 10%, where the Sculpture Space (Espacio Escultórico) and the Sculpture Walk (Paseo de las Esculturas) are located.
Located within the University Cultural Center (CCU) on a natural terrain, the Sculpture Space was inaugurated on April 23, 1979, resulting from a collaborative effort by six artists: Federico Silva, Helen Escobedo, Manuel Felguérez, Mathias Goeritz, Hersúa, and Sebastián. As regular contributors to the development of culture and education at UNAM, they were influenced by two sculptural movements: minimal art, reflected in the circular stone structure that supports 64 serial prisms, and land art, a genre that places symbolic structures in natural landscapes to encourage preservation. Here, the approach merges ecology and art to recreate the cosmic imagery of the pre-Hispanic world. Additionally, a group of biologists, geologists, botanists, ecologists, engineers, and architects joined the team organized by a coordinating group, a technical support group, and an administrative support group. According to Felguérez, the project had to be "the result of a conception of art as research, as an extension of culture, and as a commitment to social reality."
As a sculptural landscape proposal, the design of UNAM's Sculpture Space draws inspiration from pre-Hispanic concepts related to cosmogony and astronomical architecture. Its circular layout symbolizes the cyclical nature of time and the eternal repetition of cosmic cycles, connecting with the sacred Mayan calendar, which played a central role in planning daily activities and religious rituals. Likewise, the arrangement of the prisms and the overall configuration of the space is designed to interact with the sun, moon, and stars, inviting reflection on humanity's place in the cosmos.
The complex consists of a set of 64 rectangular-based, pyramid-shaped volumes, each measuring 9 x 3 meters with a height of 4 meters, arranged on a platform 13.61 meters wide. These elements form a circular ring framed by volcanic stone (piedra braza) with an interior diameter of 92.78 meters and an exterior diameter of 120 meters. Composed of two main parts—a foundational platform and a series of geometric figures—the space encloses a core of natural solidified lava from the Xitle volcano, intended to symbolically contain the power of the eruption from thousands of years ago.
The platform is built on a base of two volcanic stone walls, filled with ballast to create a permeable embankment. Varying with the topography, the height of the walls ranges between 50 centimeters and 9 meters, and the surface is finished with a layer of tezontle gravel to maintain permeability and add a touch of color. The 64 polyhedral prisms are arranged by quadrants, with each quadrant containing 16 modules spaced 1.75 meters apart on the interior perimeter and 2.67 meters on the exterior. The quadrants at the four cardinal points measure 3.60 meters on the interior perimeter and 4.80 meters on the exterior, creating a greater separation at the cardinal points (north, south, east, and west). Regarding materials, the modules are founded on a reinforced concrete slab, and the vertical walls are also made of reinforced concrete, topped with precast concrete beams that support hollow cement and sand blocks. All surfaces feature a rough bush-hammered finish to achieve the intended texture.
This complex represents a cosmic interpretation with pre-Hispanic references, surrounded by the Ecological Reserve of the Pedregal de San Ángel. As both a monumental space and a symbol of university identity, the UNAM Sculpture Space in Mexico marked a shift in the realm of public art by freeing public sculpture from its official and commemorative function. The Sculpture Space creates a place for meditation and contemplation of nature and the cosmos, while also hosting musical gatherings, concerts, theater performances, and cultural events, making it a popular meeting area, especially for the young people of Ciudad Universitaria.
Moreover, the Space features individual works by each of its creators, forming the Sculpture Walk, which offers a range of experiential possibilities through its paths. The placement of these works creates spots where the contrast between nature and contemporary plastic art sculptures is visible. The six sculptures set amidst the vegetation and volcanic rocks are Las Serpientes del Pedregal and Ocho Conejos by Federico Silva, Ave Dos by Hersúa, Coatl by Helen Escobedo, Colótl by Sebastián, Corona del Pedregal by Mathias Goeritz, and Variante de la Llave de Kepler by Manuel Felguérez.
Since its inauguration in 1979, the Sculpture Space has welcomed numerous thinkers and theorists who have interpreted the site through the relationship between human creativity and the forces of nature. Going beyond mere aesthetics, the Space aims to foster broader discussions about environmental conservation, cultural identity, and the transformations caused by urban expansion, inviting reflection on the connection between artistic efforts and ecological awareness. It aspires to create a meeting point between past and present, where contemporary art engages in dialogue with tradition.
This feature is part of an ArchDaily series titled AD Narratives, where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and how they came to be. We also talk to the architects, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.
