Introduction

Alamos, Sonora, Mexico is unique in that, for such a small town, it contains world-class cultural, natural and intangible heritage. The colonial architecture in the town center has been declared a National Historic Monument, and Alamos is on the tentative list for World Heritage status. The surrounding area contains incomparable biodiversity within an unusual ecosystem that emerged where the Sonoran desert meets the Sierra Madre and the more humid rainforests to the south. A 93,000-hectare Federal Natural Reserve of Tropical Deciduous Forest is protected under UNESCO’s network of biosphere reserves. The outlying region is inhabited by the Mayo and Guarijio Indians, who are the traditional stewards of the land and keepers of an extraordinary wealth of information about practical and medicinal uses of local plant species. The knowledge spilled over into a meztizo population, with its own matchless local culture, which has been entrenched for hundreds of years, since the town was founded as a mining and administrative outpost in 1685. The silver mines at one point became the richest and most productive in the world.

Problems abound. The natural, cultural and intangible culture of the region is increasingly eroded by globalization and modernization. A global demand for beef has spurred government policies which urge the Guarijio to clear-cut forest and plant buffel grass in order to raise cattle. The practice destroys the forest which was once sustenance and medicine for the Guarijio, coerces them into a form of livelihood that is foreign to their culture and values, and pulls them into a cash consumerist culture. Development, population growth, deforestation and a new wave of mining activity threaten biodiversity. A desert could replace what is now a seasonal tropical rainforest.

Hundreds of colonial buildings in the historic center have been registered as monuments, but they are endangered due to lack of public awareness about proper methods and materials for conservation. Perhaps the most damaging practice is an overuse of Portland cement in old adobe and masonry buildings. Authorities in the field of conservation the world over condemn the use of cement in old buildings. Members of the expat population from the US and Canada typically buy historic buildings and remodel them as they wish, showing little sensitivity to historic authenticity. The vinyl paint currently used is entirely inappropriate for a colonial town, and has effectively eliminated wall breathability.

Alamos was able to retain its unique character for centuries largely due to its isolation. Electricity, television and paved roads to the nearest city did not arrive until well into the second half of the 20th century. When I first came to Alamos eight years ago, I noticed that many older traditions survived. Storytelling was still very much alive. Television did not dominate the family in the evening. On hot summer nights, people sat outside and told stories about Alamos ghosts, Alamos fauna, snakes that fall on people from trees, hunting and fishing, deer and jaguars, unheard-of fruits, treasures that were hidden during the Indian raids that lasted well into the 20th century, family feuds, curanderos of yesterday and today, supernatural occurrences of all sorts, how Alamos once became a ghost town and how people survived, the brothers that sawed a pencil in two so they could both go to school, the same brothers that cut a tortilla in half for lunch, children carrying water from the well down the hill, disease, and corresponding herbal cures for anything—the stuff of resilience. Stories were told about how Los Angeles and San Francisco were founded by expeditions setting off from Alamos, to remind people of their proud heritage. Stories were told about unwed mothers buried alive in thick adobe walls by their embarrassed families, to remind people of their own cruelty.

Music played a central role in the family, with guitars and song breaking out at any moment. Hundreds of old songs remain in the memory of those older than 50 years of age. Many retain memories of local history. I am sad to say the songs will not see another generation. TV, internet, cell phones, rap music, alcoholism, drug abuse and cocooning have replaced the Alamos I knew 8 years ago. The values disappear with the traditions.

Change, modernization and new technologies erode cultural, biological and intangible diversity around the world. The same drivers lead to disintegration, wherever it might be. If reintegration is to occur, logically it could be driven by common catalysts as well.

While witnessing the very sudden erosion of biocultural diversity in Alamos, I noticed it occurred in steps. Destruction is rarely immediate and complete. It happens via a sort of domino effect. One element falls, leading to the fall of others. Reversing the trend could only happen by standing a domino up again, necessarily in a way that makes it probable others will follow.

Heliocarpus attenuatus

Samo is a common small tree in the Alamos area. Underneath the bark, the branches are slimy. This mucilage was used in the preparation of lime plaster, and as a binder for paint. The combination of the organic ‘samo’ with inorganic lime and pigments, resembles the paint and plaster technology of the ancient Maya, known for durability. The Maya used a tree they called holol. Holol refers to a variety of species, one of which is Heliocarpus donnell.

To prepare the mucilage, the Guarijio soak strips of bark in water. The water is then mixed with sand and lime to make plaster, or with lime/and or pigments to make paint. Many people in Alamos still remember the use of samo.

Samo will be essential to any future effort to restore Alamos’ colonial architecture. Very few authentic paint and plaster surfaces remain. Almost all have been ruined with vinyl paint and plaster containing Portland cement.

Ruins

I have a few favorite ruins in town. Few still exist. I've noticed that nobody butters them in cement or paints them with plastic. The humblest person in the street doesn't touch them with graffiti. Why? Because we revere them...all of us. In this crazy modern world, they remind us of our origins.

Negativity, Pessimism, Sadness...

Or just the unvarnished truth?

I just changed the header of this blog to read: "Investigating the links between biological and cultural diversity in Alamos, Sonora, Mexico." Before I changed it, it was identical to my first post in this blog, and read like this: "This is a blog about the destruction of a small colonial Mexican town. It investigates the motives and mechanisms behind the destruction, the ideas and people involved, and the strategies and hopes of those who would save it from further tragedy."

I figured the old header might discourage readers. It sounds awfully depressing. But I'm afraid it is true. In the 10 years I have lived in Alamos, I have seen a continual erosion of cultural heritage. Aside from an erosion of tradition, I've seen the erosion of the colonial architecture and of ruins---the only remaining clues that could guide proper restoration of historic buildings in the future. As I became involved and saw the dynamics of the process, it took several hard knocks before I learned that circumstances are always complex. There is a kind of inertia at work, which makes it easy to believe that things will never change, or that they will change too late.

As just one example of a very multi-faceted and complex scenario, I'd like to mention the removal of the cobblestones throughout most of the the historic district, during David Corral's tenure as mayor. They were replaced with cement pavers. Make no mistake. I like David Corral. He is the only politician I have known in my life who has asked for my opinion. Before, during and after his administration, he has always greeted me when he sees me in the street. Just a few months ago, he saw me and crossed the street to shake my hand. He seems a polite, soft-spoken man. I wish democracy would always work this way.

Anyhow, when he did ask my opinion about his administration, I mentioned I was not pleased with the removal of the cobblestone. I saw a momentary flash of anger or disappointment on his face, and then he quickly composed himself and explained that cobblestone was not original, the streets used to be earthen, and the people called for the change. Cobblestones are murder for women who walk in high heels (true) and they tend to destroy automobile suspensions. I was constantly replacing tie-rods and ball joints. So David had some valid points.

Anytime I object to destruction of the authenticity of the historic district, another issue comes up...that of the sentimental gringo holding on to the past, and thus obstructing progress, or worse--interfering with a people's right to modernize as much as they wish. With the idea of "progress" comes the expectation of economic progress and the sentimental gringo stands in the way of this as well. I've heard it over and over. It is the viewpoint of people who have not lived to know, or noticed, that many people in the "developed" world long for simplicity and regret the emptiness of their ways of life.

I'd counter also with the idea that a town so economically dependent on tourism had better be very clear about what exactly makes the place appealing to tourists, and work to preserve it.

So...it came to pass that a small group of locals opposed the plan to remove the cobblestones, but they were removed anyway. I was not involved, because I didn't see a chance of winning, and felt it was not my place to protest, or object to legal decisions made by a valid government.

As a result of installing the cement pavers, there were lots of runoff problems during the summer rainy season. Some houses flooded. Rain used to seep between the cobblestones, which slowed the speed of runoff. Now, in an area desperate for water, the faster runoff means that the aquifers do not replenish as well as they did before.

I will say it over and over again in this blog, from a hundred different angles. Cement (Portland cement)=destruction of cultural heritage + environmental damage.

When I express my realistic, not pessimistic, appraisal of the prospects for the conservation of historic elements in town, it is tempting to make a simplistic generalization like, there are good guys and bad guys involved, and the good guys always lose. That is too easy, and thus untrue. What I do see is constant erosion, and nothing to stop it. It is not for a lack of sound proposals for viable alternatives. It is just the way things play out.

Now that there is practically nothing to save, I hope, at least, that this blog will be useful to those entrusted with the conservation of cultural heritage in other locales, to help them understand the dynamics at work.

Mike's Ideas

Photo of Pals, Catalunya by Michael Brody, all rights reserved. Almost looks as if it could be Alamos.

My pal Mike responded to my last post and we had the following "conversation" on Facebook. I think it is interesting.


Mike: Daan. Went to the blog and, ok, I may be one of those gringo sentimentalists. You can't hold onto everything, as you imply, and you probably shouldn't try. I have seen compromises that are good. For example, in Spain there are several restored Medieval towns, among them "Pals". Pals is too perfectly restored, really and its charms in some ways are fabricated thanks in part to it's wealthy summer home inhabitants. But the town is proud and tourism thrives. I will take that over what is happening in your town. Question, does Alamos want to preserve itself but simply can't afford it? Great blog writing on your part - keep it up!

Daan: Thanks, Mike. There is a very small faction of people who are interested in preservation, but it is too small. Most are true believers in the idea of progress and modernization. They don't realize what treasures we have here, or their economic importance. And there is a real lack of expertise as far as how to go about preserving. Here also there is a kind of inauthentic disneylandish alteration is some cases. There is a great book by Antonin Artaud, a French surrealist who fell in love with Mexico, which states that Mexico doesn't realize what it has, and it takes a foriegner to see it and explain it. Look for the book...it is really good.

Mike: Perhaps tourism dollars drive preservation in these small towns in Spain. There is no doubt that Catalunya (where Pals is) is both entrepreneurial AND preserving of its culture. These 2 things can go very well together. If there were just a few (locals) with these attitudes headway could be made. I will check the book out. Would locals like tourism?

Daan: As it stands now, Alamos is very economically dependent on tourism. But hurricane Norbert has hurt us, as has the recession, and US news media's exaggeration of current events. Sustainable development, tourism and preservation can work very well together. It is the only way forward! But long term vision is lacking, and if somebody has it, they get crucified. Immediate personal gain and self-interest rule.

Another factor is the municipal government, which changes every three years. Each administration tries to see how much it can do in just three years, and mostly focuses on basic needs. That rules out long-term planning. Only a nonprofit could do the trick, but that requires at least some consensus, and reaching consensus is very tricky.

Mike...your approach is 100% correct. My mistake here a few years ago was to try to rally people around the idea of preservation instead of just quietly forming a nonprofit which could link preservation and sustainabilty with tourism and business. It takes the right approach, right personality, right charisma.

Would you?

Would you plaster over this?

Or this? That is exactly what is happening now as a result of the supposed "restoration" of the Parroquia de la Purisima Concepcion, Alamos' main church and most treasured landmark. Photos of the destruction and the reasons why to follow.

Reversability?

Here's a picture I took yesterday of the facade of the church. The original facade is on the left, and you can see the recent intervention on the right.

As an amateur restorer of fine art for decades, I've known for a long time that reversability is the number one rule in the restorer's craft. It is a matter of ethics. If I am to make changes to an old work of art, I must use processes and materials that are reversable, so at some later date, my intervention can be undone. That way, no matter what the level of knowledge and skill the restorer has, people in the future will always be able to get back to the original. If conservation technology and materials advance, restorers in the future will be able to start from scratch.

From March to the end of July this year I worked as a restorer on the interior of this church, as an employee of Straulino Restoration, a very professional outfit which has done important work throughout Mexico. The conservators in charge of the project did a very good job of investigating the history of every aspect of the altar, finding the original finishes when possible, documenting absolutely everything, and explaining the justification for each and every decision. "Reversability" was like a mantra--they mentioned it over and over again. Throughout the world, reversability is the first imperative of their profession.

The reasons for the decisons made on the exterior intervention are extremely complicated, and it will take several more posts to explain the whole situation. For now I would like to humbly ask those responsible: How in the world is THIS reversable?????????

The Decline of Craftsmanship

Above is a photo I took of the same poor church. You can click for a larger view.

Note the exquisite delicacy of the original cornices versus the heavyhanded clumsiness of the the "restored" cornices. A real decline in craftsmanship and aesthetics has taken place. The next post will explore the reasons why.

How is this reversible?

What's the Connection Anyway?

I couldn't resist taking the above photo. The subject leaves me perplexed. It is funky, it is a mess, but somehow it is beautiful and somehow it all works. Kind of like Alamos.

How do the the conservation of biological diversity and the conservation of cultural heritage connect? What unites conservation of nature with conservation of culture? What is the glue that holds together the diverse contents of this blog?

The answer is relatively simple. Methods and materials that damage Alamos' architectural heritage tend to be ecologically unsustainable as well. Alternative methods and materials that could rescue architectural heritage would have a positive impact on the environment.

The best example of uniting conservation strategies in this way has to do with portland cement, which is destroying Alamos' architectural heritage and is damaging to the environment as well.

The best alternative to cement would be pit lime...aged lime putty made from slaked quicklime. It is the proper material to use for the restoration of old buildings, and has a positive environmental impact.

Connections between the conservation of biological and cultural diversity can also be found in the various plant species (plants) mentioned in this blog. Certain species are important both to the preservation of cultural traditions and the conservation of our unique ecosystems. The best examples are indigo , brasil , and mesquite.

In researching links between the conservation of biological and cultural diversity related to plant species, I focused only on those plants that are important to local arts and crafts traditions. If the definition of culture were expanded to include plants important in construction, daily life, and medicine, hundreds of species could be included. That work has already been done by ethnobotanists and authors like David Yetman.

General currents and trends need to be taken into account as well. Economic globalization lays waste to cultural diversity around the world, and Alamos is an ideal place to witness the sad process, which is so absolutely powerful practically nothing can be done to slow it, or halt it. Economic globalization means homogeneity...the loss of everything that makes Alamos unique.

An economy based on unlimited growth damages both nature and culture. While this is very true, aesthetic concerns have to be balanced with a need to provide for a growing local population.

Spalling, an Introduction

This is Janet's restaurant Bacchino, where we used to get the best pizza in Mexico. I was sad to hear it closed.

The old wall is interesting. I'm not sure how old it is. Let's zoom in to a section just to the right of the picture above.

This is a classic case of what is called spalling. The old grout is whitish. Newer repointing is greyer, done with grout too rich in portland cement. The harder cement expands and contracts more than the softer brick, so the brick gets fractures and drops away. This happens when cement is used to repair old masonry which originally had lime grout. The cement will even blow out adjacent stone. You can see it all over town.

So...what happens is that attempts to repair invariably accelerate damage in the long run. NOTHING, but nothing, can convince the local builders to cut use of portland cement in the repair of old buildings and revert to the 100% lime grouts and plasters used by their ancestors. Current cement use has been practiced for generations, so builders are unwilling to change. Only a prolonged program of awareness-raising could turn things around.

What's Right About the Exterior Restoration

One positive aspect of the exterior restoration is that the material being used is the proper material for repair work on Alamos' architectural heritage. It is slaked quicklime, bought from Calidra de Sonora in Hermosillo...about 85% pure. For fresco painting we usually look for 90% CaO or better, but the Hermosillo lime is probably sufficient for this work.

I question whether the lime used on the exterior has been slaked long enough. Generally one year of slaking is required before use.

Some suggestions were ignored by the restorers and the patron's group. A great opportunity was lost. The church project could have been used to raise public awareness about the uses of lime. Workshops could have been held to train local builders in how to use lime and how to prevent spalling.

Alamos would have enjoyed the long-term aesthetic and environmental benefits of decreased cement use, as well as increased protection of its cultural heritage.

Alamos used to produce what was reputed to be the best lime in the state of Sonora, but local production ceased years ago. Reinitiating local production might have an economic and environmental benefit for the town.

Don't Mess

Most of the best-preserved old buildings in Alamos are in good condition because the owners have done practically nothing at all. Congratulations to Chela Alcorn, who owns this building. I like the way she has kept it. The lines, proportions and details display a level of art not seen in new construction.

The Alcorn family in general deserves a prize for not altering old buildings. Some are in dire need of expert attention, but in the meantime, they have been kept intact.

Spalling 2

This is typical spalling caused naturally from age, and possibly from groundwater wicking upwards in the wall. Using cement for repairs will only accelerate the damage. Cement expands and contracts more than the softer brick, and it is not breatheable, so water would be trapped inside the wall. This wall should be repaired with lime putty and brick.

Spalling in Progress

Here's a good example of spalling in progress. The brittle cement itself is cracking, top center. The expansion and contraction of the brand new cement is accelerating damage to the stone, bottom center.

The Cement Problem

From John Messina's book about Alamos architecture, which I highly recommend:

"In recent times, Portland cement has been added to the plaster mix in order to make it harder and less likely to wear away. This combination, however, produces a hard and impervious coating that prevents any of the inevitable moisture that has entered the wall from escaping. Water will thus be retained, and the wall will gradually erode from the inside. Unfortunately, many contemporary masons and plasterers working in Alamos have resorted to cement plasters. Thos entities and authorities charges with preservation oversight urgently need to educate the local trades and owners regarding this problem."

First, Wait a Quarter of a Century

The profession of restoration has a very strict code of ethics that reads somewhat like the Hippocratic Oath:

1) First, do no harm.
2) Every step you take should be reversible.
3) Use the original material whenever possible.
4) Document your work thoroughly with before and after photos.

A friend told me today that construction of the church in Alamos was overseen by the Spanish crown, and the construction statutes of the era called for lime to be slaked for at least 25 years.

During the Roman Empire lime for construction was, by law, slaked for 3 years. When I worked on the frescos at St. Mary's College with Mark Balma, we used 200 year old lime from the Vatican lime pits to make the "bianco san giovanni," the white pigment. European builders and fresco painters in general have long understood that the oldest lime is the best, so they used to pass their lime pits from one generation to the next.

Interestingly, the Maya invented a shortcut. They added tree mucilage to the lime. The sugar content accelerated the slaking process, so the lime was ready for use in 2 weeks, rather than 2 years.

The old building tradition in Alamos called for adding the mucilage of a tree from the same family the Maya used.