In ancient Maya Architecture, monumental arches were important urban elements used to mark entrances or significant points within the city. Rather than employing the Roman semicircular arch, the Maya developed and perfected a technique known as the corbel arch or false arch. This method involved stacking horizontal stone courses, with each succesive stone slightly cantilevered beyond the one below, gradually narrowing the gap until it could be closed at the top. This construction system was applied extensively to cover the interiors of temples, palaces, and ceremonial structures. Despite exploring various cross-sectional profiles and stereotomic solutions, the Maya consistently relied on this technique for nearly 1,500 years (Hohman, 2005). In this research, the concept of the arch is understood not as a complete enclosure like a vault, but as an open architectural fragment – a visible cross-section of a vault no headwall, connecting two open, urban spaces, whether public or private.
As a contemporary reflection on these ancient structural logics, this pavilion was conceived as an experimental exercise to explore the challenges of designing a vault open on all four sides. The project was developed through a hybrid process that combined digital fabrication technologies with traditional craftsmanship, in collaboration with a master artisan specialized in vault construction. Each component of the structure was partially crafted by hand and partially produced with robotic 3D printing, enabling an investigation into the relationship between artisanal and automated manufacturing. This dual approach allowed the project to test the limits and possibilities of merging both systems within a single construction process, generating valuable insights into the dialogue between tradition and technology.
