Articulo el Troje | Intbau Mexico

El Troje: remnants of a Purépecha heritage

Grecia Joseline Vargas Mondragón

Introduction

Constructed Vernacular Heritage is generally created to meet the need for habitat, a creation of the simplest kind, it is a reference to the self-production of housing by a community carried out through solidarity processes and rituals specific to the communities, without rules in its entire conception, even in the materials, in which it seems that there is an absence of the architect during its construction, making it very characteristic of some indigenous communities.

A notable example is the Troje, a vernacular construction unique to the Purépecha Plateau, Michoacán, Mexico. Michoacán is a federative entity of the Mexican Republic, with a territorial extension of 58,599 km², representing 3% of the national territory, where 3 out of every 100 people speak an indigenous language, and 13 of its Purépecha towns are governed by their customs and traditions. (Figure 1, 2)

Figure 1-2. Image 19, 20, 21. Location of the State of Michoacán. Own creation.

The Purépecha plateau or sierra is located in the mountainous forested area (Sierra), with hills and small valleys (Plateau), the basins of lakes such as: Pátzcuaro with its islands and Zirahuén, both surrounded by mountains, have an average altitude of 2000 meters above sea level, so their climate is generally cold and with a high level of rainfall. Most of its small towns have an average of 2000 inhabitants, and agriculture and craftsmanship make up their economy.

Figure 3. Location of the Purépecha Plateau in the state of Michoacán. Own elaboration based on:

https://www.mexicodesconocido.com.mx/mapa-de-michoacan.html

The objective of this research is to analyze and document the troje (K’umanchikua in their language), a construction characterized by being a building that can be assembled and disassembled in two days for relocation in cases of land changes or reorganization of the Troje. It is also distinguished by the exclusive use of wood as a construction material and by not using nails in its joints, as both its structure and the boards that form the walls are resolved through joints with half-lap cuts.

Broadly speaking, the Troje is composed of three areas:

The Portal, which is a space with multiple functions, where we can see plants and products that were harvested being hung. The living room of their house, the place where the inhabitants receive their guests.
The Room, which is the private space for the family, has a very particular characteristic of these constructions that have no divisions, and on the walls hang religious images and portraits, forming a small family altar. To sleep, they used mats.
The Tapanco, which is the storage room, the barn where they keep the harvested corn and other staple grains for their own consumption.

The development of this article is divided into five parts: the first discusses the community's background; next, the spatial distribution is described; followed by the architectural elements and the construction systems and materials used in its construction; then the customs and religiosity that are present before, during, and after its construction are analyzed; finally, the possible challenges that this construction faces today and that lead to its disappearance are presented.

Background

Between the 14th and 16th centuries, the Purépechas dominated the west of Mexico with an estimated population of over a million inhabitants; Tzintzuntzan was their capital, where the irecha or ruler lived. The Aztecs, for their part, ruled in central Mexico, and the Purépecha Empire prevented them from expanding to the north and west. The empire chose this area for a reason: the basin houses a colossal lake with several habitable islands, abundant fish, and a lush surrounding landscape with pine-covered mountains. The area is so spectacular that the Purépechas believed the lake was a gateway to heaven.

By the time the Spaniards arrived at the Pátzcuaro Lake Basin in the 16th century, they captured the Purépecha ruler and forced the empire to relinquish its power. It is worth mentioning that historians consider this transition more peaceful than the siege of the Aztecs, which is why the Purépecha people received more autonomy than their Aztec counterparts, and the Purépecha elites continued to have influence and authority over the region. After the colonization, the Purépechas incorporated their craftsmanship into the Spanish colonial infrastructure, a syncretism that is still maintained throughout Michoacán today. (Figure 4-5)

Figure 4. Basin of Lake Pátzcuaro, Michoacán.

Figure 5. Open chapel Tzintzuntzan of the first convent, 16th-17th century. Michoacán. Being built by indigenous labor, syncretisms appear in the iconography that decorates the semicircular arch.

Source:

https://mansioniturbe.blogspot.com/2017/07/museo-del-antiguo-convento-franciscano.html

As a constructive antecedent of the troje, it is explained that at the height of the Purépecha Empire, alongside the houses, a márthita or raw clay granary in the shape of an inverted pear was built, a construction that could be an antecedent of the troje, as it had two levels; in the lower level, the grain was stored while, in the upper level, clothes and other objects were kept, generally located away from the rooms that each domestic group had on their respective plot. At that time, this construction consisted of a wooden base supporting four columns on which a roof made entirely of straw rested. (Figure 6)

Figure 6. Pre-Hispanic houses depicted in plate XVII of the Michoacán account. Source: Botempo, Mudejar Elements in the Vernacular Architecture of Michoacán: The Purépecha granary.

In the 16th century, with the construction of the new Purépecha town, a radical change was experienced, both in the appearance and conception of their settlements and buildings, as well as in the social organization to which they responded. Thus, they adapted Hispanic forms and abandoned the previous ones. The new domestic groups that were formed at that time were created by taking some old ideas, but also by adopting religious principles imposed by the colonizers. Under this perception, the predecessor of the granary included the arrangement of a barn.

Without knowing for certain how much time had to pass after the 16th century, the Troje with pine wood beams and occasionally fir wood with four flat sides, as it is known today, was introduced and adapted. One of the characteristics that defined the construction of this room was that the assembly had to be done carefully to prevent it from being destroyed by earthquakes and, at the same time, to allow it to be disassembled when desired to change its location. (Figure 7-8)

Figure 7. Sketch of the Troje facade. Figure 8. Cross-sectional sketch of the granary. Own creation.

Despite the previous data, the origin of the Troje remains a matter of doubt today, as it includes some characteristics of pre-Hispanic descent and there is evidence that the indigenous people used tejamanil made of pine and fir in 16th-century architecture; however, its design and conceptual scheme do not correspond to the native style.

Spatial organization

When dealing with spatial organization in the housing of the Purépecha plateau, it is found on large plots of land measuring 20 to 25 meters in front by 40 to 50 meters in depth. Composed of segmented spaces around this open area that serves, in dry times, as a work area and a space for socializing. This space is referred to as the patio, meeting area, vestibule, work area, generally as the gathering space for any family activity, which is why it is of vital importance in the composition of this house. (Figure 9)

Figure 9. Solar Ihuatzio, Michoacán. Own creation.

Access to the lot is resolved through a generally two-leaf gate covered by a gabled structure to emphasize the main entrance, located at one end of the property, with simple construction and design with minimal ornamentation, built under the panel system with dimensions ranging from 1.50m to 3m in width; average height of 2.40m. There is also a secondary access on the perimeter walls without a roof, through which the exit of the degree or animals from the property is made. (Figure 10)

Figure 10. Sketch of solar plan. Self-made.

Within the plot, the distribution scheme consists of a garden or cultivation area where medicinal plants and agricultural products for personal consumption, such as tomatoes, peppers, among others, are found; a kitchen with a stone stove made of charcoal or wood on which pots and the griddle for making tortillas are placed. It is worth mentioning that nowadays, a gas stove has been added to these traditional kitchens. (Figure 11-12)

Figure 11. Traditional kitchen stove. Figure 12. Traditional kitchen with gas stove. Self-made.

The tejabán, which is one of the characteristic spaces of these houses, has two functions: one is to store agricultural products, or it is used to shelter work animals such as horses, oxen, and mules, or in some cases, it is used as a simple pen for smaller animals or poultry; the second function of the tejabán is more related to the sense of social organization and local traditions, as it is used as a kitchen to house the stoves on certain festive days. (Figure 13)

Figure 13. Purépecha solar roof. Different uses: animal shelter, barn, party hearth. Source: Bedolla, 2015.

For their part, complementary spaces such as the latrine and covered areas for livestock or grain storage are distributed at the back of the property, while the troje is located at the center of the plot or leaning toward one of its boundaries to have control and supervision over the cultivation area and the other spaces. The Troje corresponds to the residential area in the vernacular housing of the Purépecha community, a space composed of an architectural plan with a square section where the functions of living and storing are integrated, solved in the spatial trilogy: porch-room-loft. The area of the room or bedroom is accessed through a single opening of moderate dimensions; this opening not only serves the function of access but also is where the area is illuminated and ventilated. (Figure 14)

Figure 14. Sketch of the triple function of the Troje: Portico-room-loft. Own creation.

There are two types of trojes that, depending on their size, change their composition; the first corresponds to a simple room with a square section with average dimensions of 3.00 to 3.50 meters in width; the second type of troje corresponds to one that exceeds 4.00 and up to 6.00 meters in width. Similarly to the previous one, it is composed of a square floor of a single quarter with the only difference that it includes a portico at the front that ranges from 80 centimeters to 1.50 meters in width. (Figure 15)

The porch has been used since its inception for the rest and socializing of its users; generally, access is from the front of the room since the sides of the porch are closed off by the same lateral walls that make up the granary. For its part, the loft is the storage for corn cobs, a basic grass for peasant self-sufficiency, which is gradually consumed until the next annual harvest. (Figure 16)

Figure 15. Floor plan of Troje: Portico/room. Self-made.

Figure 16. Portico. Source:

https://mansioniturbe.blogspot.com/2018/04/trojes-michoacanas.html.

Architectural elements and construction systems

Regarding its architectural and construction aspects, the Troje is a structure elevated above ground level, which gives it a lightweight appearance, accentuated by the steep pitch of the four-sided roof. Next, each of the elements is described based on the article by Bedolla, Juan:

Foundation: it consists solely of placing the four-legged or piled stones at the intersections of the construction's foundation drags, varying the size of the stones according to the conditions of the terrain. This is done to detach the wooden structure from the ground, creating an airflow underneath that keeps the floors of the house dry and in good condition.

Figure 17. Foundation sketch of the Troje. Own creation.

Walls: the construction of walls made from wooden beams. These walls are assembled using a nail gun on foundation beams, and at their intersections or crossings, they are joined with half-lap joints, creating a rigid structure that will support the weight of the walls and the roof of the barn. The walls are made up of wooden planks with average dimensions of 0.08 x 0.40 x up to 6.00 meters in length, which are joined together with half-lap joints to form the wall up to a height of 3.00 meters. The assembly and bracing of the wall beams at the four lateral edges form a wooden box structured solely with the half-lap joints of its beams. (Figure 18).

Figure 18. Sketch of half-lap joint assembly for walls.

Floor and loft: made up of wooden planks whose dimensions range between 8 and 10 centimeters in thickness and 30 to 50 centimeters in width, these are placed on the main support beams. The space formed between the cover and the room's ceiling is called a tapanco, a space used for drying grain due to its climatic characteristics. Its access is through a hatch located on the right side of the roof, a quadrangular opening whose dimensions allow a man carrying a sack full of grains and seeds on his shoulders to pass through. Currently, the changes in the roofs have caused this space to fall into disuse, using it for the storage of unused items and waste.

Isolated supports: they are found in the porch area, made of wooden columns with a circular section of 18 to 20 centimeters in diameter, these are placed on the main wooden drag beam (drag beam with a square section of 20 to 25 cm). At the top of the column, you can find an ornamented or carved wooden base with some decoration, or even just the column itself.

Figure 18. Sketch of isolated supports, construction system. Own creation.

Roof: formed by the floor of the loft, wooden planks are used in the direction perpendicular to the access to the room, the dimensions of these planks can be the same as the dimensions of the wall planks or even one or two centimeters thicker; on top of these, a beam (runner) with a square section ranging from 15 to 20 centimeters is placed, secured with a nail gun. On the arrastres, the beams or rafters are placed, which are rectangular or sometimes round and serve to support the roof. On top of this, the covering is placed, which is made of tejamanil, a piece like a very thin wedge with sections 12 centimeters wide, 70 to 80 centimeters long, and an average thickness of one centimeter. (Figure 19)

Figure 19. Sketch of wooden structure in the roof, construction system. Own creation.

Facade: Not considering more openings than the main entrance, the appearance of the facade gives a blind or closed character to the exterior, with the solid part predominating over the opening, thus giving a completely private character to the interior. For this reason, the facades are generally austere and the architectural ornamentation is minimal, limited only to the carving on wooden elements such as the bases and the beams that make up the eaves. In some cases, wooden frames can be found over the door openings, thus enhancing the only element on the massive structure that resembles its walls. (Figure 20)

Figure 20. Facade of a troje. Source: National Museum of Anthropology, 2018.

Construction materials: The microclimate found in the trojes is a result of the construction material combined with the technique and esthetics of the trojes. The foundation is made of local braza stone. For the wooden construction elements, the most commonly used tree species were pine, oak, and fir. From pine and oak, planks, beams, and strips, among others, were made. From the oyamel, the tejamanil was primarily extracted (figure 21-22), although it could also be made from pine; however, its mechanical behavior and lifespan are not the same. On average, after six years of use, the tejamanil made of pine tends to bend; whereas the one made of oyamel does not splinter and lasts for 10 years or a little more.

Figure 21. Tejamanil. Source: Pinterest, Figure22. Tejamanil in a barn. Source: Alejandro Martínez Castañeda, Quadratín.

Customs and Religiosity

The Purépecha customs that manifest in the troje begin with the pronoun used to refer to this construction. According to the National Museum of Anthropology of Mexico, it is correct to refer to the troje in the masculine because it is an idea that continues the Mesoamerican thought of duality, which is reflected in the very distribution of the solar. On one hand, in that plot, it was customary to build the trojes facing east, the place where the sun rises, associated with the protection of the family and their sustenance. Upon completing the construction of this space, a cross dressed in men's clothing was placed at the top (Figure 23), an element related to the Catholic religion. Likewise, the feminine part is represented by the kitchen space where they spend most of their time, not only to prepare food but also as a gathering place, for weaving, and for activities related to their gender. Just like with the troje, upon completing its construction, the religious element of the cross appears on the roof (Figure 25), but dressed with a rebozo (an accessory worn by women). (Figure 24)

Figure 23. Purépecha men’s attire, Figure 24. Purépecha women’s attire. Source: https://www.lavozdemichoacan.com.mx/michoacan/conoces-nuestro-traje-tipico-purepecha-es-colorido-y-orgullo-nacional/

Figure 25. Cross under construction, Day of the Holy Cross in Mexico (May 3rd)—an illustration of how such crosses might appear during the construction of a *troje* (traditional wooden granary/structure). Source:https://www.atiempo.mx/destacadas/hoy-se-conmemora-el-dia-de-la-santa-cruz-2/

Also, as part of their local customs and beliefs, the process of cutting down trees was related to the lunar phases, as they were cut on nites of the full moon, to ensure good quality and durability of the wood. In addition to this, the trees chosen for the production of wooden pieces were selected in detail. If the tree no longer produced the necessary amount of resin for commercialization, if it was affected by some pest, or if it was simply fallen but in good condition, it could be used for the production of wooden pieces. In the Purépecha community, the complete cutting of a healthy and well-conditioned tree was not carried out because it was about respecting the tata (tall, strong tree with a good trunk).

Continuing with these religious patterns, there are other customs before starting the construction of this space. It is considered a family religious enclosure, as the first beam placed had to bear the owner's name along with a religious inscription to manifest Catholicism, in case it was later sold or acquired by someone outside the family. Along with religiosity and ritual traditions, the family is another indispensable point in the process of building the troje, so that when a new family decided to build their own troje, the family, relatives, and closest friends participated in the construction of the house. Showing the configuration of community work, known as mano vuelta or tequio, based on the support and reciprocity of the community.

This religiosity is constant and a fundamental piece in this room as it is not only present before and during its construction, but also once the space is built. Despite being a relatively small room, the presence of a kind of family altar attached to one of the walls is of utmost importance, where devotional images and family portraits are fixed, accompanied by a table with candles for the saints in memory of a family member, alluding to the Day of the Dead tradition, a tradition that stands out in the Purépecha plateau and has its origin in the harmony between the celebration of the Catholic religious rituals brought by the Spaniards and the commemoration of the Day of the Dead that the indigenous people performed since pre-Hispanic times. Also, when someone passes away there, they are laid out and a novena is prayed for them. (Figure 26, 27)

Figure 26. Altar for family members in a Purépecha plateau home. Homemade.

Figure 27. Altar for family members in the granary. Source. Iturbide Mission.

Disappearance of the Troje

To understand the gradual disappearance of the trojes, it is necessary to understand that the Purépecha Plateau region was once covered with extensive forests of pine, fir, spruce, and oak; which allowed the construction of the trojes to be entirely made of wood and the assembly of the tejamanil roof that characterizes them. Nowadays, there is a severe shortage of raw materials for their construction due to deforestation by actors outside the community.

frequent forest fires and the lack of reforestation in these wooded areas, depleting the community's wood resources and significantly affecting the built vernacular heritage.

In addition to deforestation, intermittent or permanent migration to urban areas of the country and mainly to the United States is a social phenomenon that has contributed to the idea among many families in the community of parting with their granaries. Furthermore, the lack of interest from new generations in acquiring and maintaining knowledge of the traditional construction system, which is being replaced by contemporary construction systems and costs and materials, is also related to a distorted concept of modernity.

Conclusions

From the analysis conducted on the troje. It is possible to observe how the materials define and give identity to the Purépecha community, making it clear that it has an intrinsic relationship with the natural and cultural environment, with characteristics that make it unique, such as being a completely thermal construction, removable, and able to be relocated in case of a change of land, as well as being a completely wooden construction that does not use nails in the joints, only carrying out assemblies with half-lap joints.

However, there are various aspects and phenomena that constantly endanger the disappearance of the Purépecha vernacular heritage. Characteristic and outstanding not only of Purépecha culture but also of the state of Michoacán; The Troje. Putting at risk an entire local construction tradition, leaving as a vestige the scarce architectural production of this typology, which is almost nonexistent today.

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