ARTICLES

For Catholics on Both Sides

Will This Architect Get Gray Hair by 2005?

By Alfredo Ortega-Trillo

If you were to send a postcard from the border city of Tijuana in 2005, the addressee would probably admire its photo of a circular, terra-cotta-colored cathedral about100 feet high, set off by a brilliant white obelisk bell tower 25 stories high, in front of a large statue of the Virgin of Guadalupe on a pedestal 170 feet above the ground.

On December 12, the feast day of Our Lady of Guadalupe, Bishop Rafael Romo Muñoz scattered holy water on the cornerstone of Tijuana's new cathedral for the third millennium, located in front of city hall and state government buildings at Paseo Tijuana and Josefa Ortiz de Domínguez in the river zone. Ecclesiastic authorities, benefactors, delegates from across the diocese, and representatives from neighboring dioceses attended.

"It will be a sacred complex, the most important in Northwest Mexico, and one of the most important in Mexico and Southern California," explained Father Francisco Javier Jaime, rector of the seminary in Tijuana and spokesman for the project.

The most important elements of the complex are the cathedral, which will seat 3000; an atrium, with standing room for 14,000; the obelisk, shaped in a stylized cross; a monument to the Virgin of Guadalupe; an assembly hall; a building for the diocesan curia; underground crypts; and a 450-space parking lot.

Building a cathedral is an important episode in a city's history, and January 2001 is considered the kickoff for a project expected to take five years. The proposal began while Juan Jesús Posadas Ocampo was bishop of Tijuana, from 1970 to 1983. At that time architect Eugenio Velázquez, winner of a contest to design the new cathedral, probably was playing spinning top and marbles.

Father Jaime explained that, under Bishop Posadas Ocampo, there was a patronage board, a project idea, and a scale model, but the project repeatedly got stuck. During the period that Monsignor Emilio Berlié Belauzarán was bishop (1984­1995) the diocese obtained by donation the first piece of land for the cathedral site.

"Bishop Rafael Romo Muñoz has subordinated all his activities, favoring the project of the cathedral, expecting to finish the work in three to five years," said Father Jaime. "We want to build a noble temple worthy of God, the Virgin Mary and the Church, a place for gathering and praying, a house for the people and God," explained Father Jaime. "It will be the heart for the ecclesial body. Eventually, all the parishes of the diocese are going to meet in this cathedral for big gatherings and events."

"This work will be a point of confluence, where we all are going to be committed: benefactors and simple people from the outlying parishes. We want the project to be one that embraces society as a whole, a project done from and for everyone." And, added Father Jaime, "Surely we will also have the friendly support of the neighboring dioceses of California."

"We have calculated around thirty million dollars [for the cost]," said Father Jaime. "Thanks to the support of local benefactors and the efforts of the patronage committee, we have collected about 25 percent so far, enough to start the work. We also have received offers from people who have said they will give us donations so that work does not stop." Father Jaime explained that the project will pay for itself to some extent through the sale of 100,000 burial urns, and there is also the hope that the project will get some residual funding from pastoral works of the diocese.

"[To supervise] probably the bishop will designate architect Roberto Curiel, who has been one of the most enthusiastic and committed persons in this project; on the other hand, the office of architect Eugenio Velázquez will supervise the architectural features of the construction."

"I presented the last changes to the project the day before yesterday, but still, we will need to keep making adjustments to the project as it goes along," said Velázquez from his office at the Carvajal building in the river zone (Zona Río). Behind him on the wall hung the plans and sketches of the cathedral. Velázquez rotated his chair and showed the main features: the circular nave, the ascending pathway of the atrium leading to the three entrances at the façade, which includes a balcony at the center, just under an espadaña, which resembles the old façade of California missions. Among the elements of the complex, the obelisk, about three hundred feet tall, stands out, with a viewpoint on top, and a rotating statue of the Virgin of Guadalupe on top of a dome. The young architect moved his arms as he spoke, as if he were drawing his work in the air.

For selection of the project design, the cathedral committee convoked several contests in which different architectural firms participated, including the firm that designed the new cathedral for the archdiocese of Los Angeles.

When Velásquez's project won the first contest, organizers decided to convoke another one. "As they did not see any gray hair on my head, I think they were disappointed," said the architect. Groups from Mexicali and Monterrey came to participate in the second contest. The architectural firm that designed the Mormon temple in University City next to Interstate 5 competed. "Our project won again," said Velásquez. Well, they should understand the gray hair will come later.

"Since I am from this place and grew up here, we were inspired by our people, our roots. I feel this is a great opportunity for us to contribute back to the city that has given us so much. On the other hand, the diocese asked for the project to honor the Virgin of Guadalupe. That is why we have the idea of making a great statue on top of a 170-foot high dome, equivalent to a 16-story building. The sculpture of the Virgin will turn in a complete circle every twelve hours, making the rotation imperceptible to human sight.

"It is a blend of styles. It is contemporary, Mexican, Marian. Also, it has a California mission touch. Even though it was part of the specifications in the contest rules to include a Mexican style, I wanted to highlight the Baja Californian spirit. I wanted the cathedral to become an expression and symbol of this particular region of the country. That is why it features old regional elements like the espadaña, as well as colors, materials and textures easily identified with this region. It also has many symbolic structural elements that will contribute to make this building a unique one."

I noted the circular plan in the blueprints and asked Velásquez if he were inspired by the Basilica in Mexico City.

"No. The circle of the nave, which, by the way, is 210 feet in diameter, has intersecting surface planes. I took the circle as the perfect shape, which better depicts God. I also think that the circle evokes the notion of a protective maternal womb. A circle also makes me think of a campfire, where people gather around the fire pulled by the warm flame. As you can see, there are many arguments to speak for the circle.

"The façade will point to the northwest, though from the traffic circle it is going to be possible to see the façade and a side as well."

I wanted to know what kind of materials are going to be used for the finish "Pressed brick in terra-cotta color, cemented by clay-colored joints, in contrast with the pure white of the bell tower obelisk and part of the temple, also in white. We have been studying among the most expressive natural elements of the Rumorosa [mountain road between Tecate and Mexicali] to incorporate textures and colors like those we find in our natural landscape. As a matter of fact, on one side of the complex will be a promontory of big rocks where water will flow from the top to a pool below. Afterwards, the water will be filtered through a wall, and people can come to collect that water, which will be holy water.

"We wanted to use the roof as well. From outside, it is going to be possible to come up the roof by following the course of a Latin cross, in which the center will represent the circle of the Eucharist, surrounding a dome flanked by seven olive trees inspired by the Roman pantheon. Through this dome, made of alabaster, a beam of sunlight will descend through the interior of the cathedral from the zenith of the dome."

I asked the architect to put ourselves on the sidewalk, ready to enter the cathedral. How is that entrance?

"First, we walk through the atrium, a broad pathway, flanked by the fourteen Stations of the Cross, which are going to be illuminated by lamps with nine lights each. Another interesting feature along the atrium will be the central monument dedicated to those missionaries who evangelized the peninsula, as well as the Indians and Spanish soldiers that accompanied them on their journey."

As we finish walking through the atrium, we are about to enter. "You have wanted to enter for a while, right?" Our readers may be growing impatient. "I see. The entrance of the cathedral is framed by three doors, which represent the Trinity. Above the central door there is a balcony, from which the bishop will address the faithful during big celebrations."

How is it from the inside? "It is well illuminated by large stained-glass windows. The baptistry, for example, 36 feet wide, cylinder-shaped, will be surrounded by a stained-glass window four stories high. There will also be stained-glass windows in the chapel of the Blessed Sacrament, as well as in the area by the confessionals, the choir, and two other stained-glass windows seven stories high."

What is going to happen to the old cathedral? "It will be preserved with a special designation for all it has meant for the history of Tijuana in the 20th century, especially since it is one of the oldest churches built in this city."

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