during all stages of construction to maintain access to the internal architecture of the site. There was a high level of interest in maintaining access to internal architecture and sacred elements of the site. The internal architecture was constructed as part of a single design and was intricately incorporated with the external architecture. Including lateral and asymmetrical growth allowed for these sacred elements to remain visible, including the Lanzón. The Lanzón Gallery was created from an earlier freestanding structure that was then transformed into a stone-roofed internal space by constructing around it. The Lanzón was possibly present before the roofing, as it is likely that the Lanzón predates the construction of mounds and plazas. In general, galleries follow construction patterns, which indicates a massive effort in design and planning. Maintaining these galleries over time was important to architects. The galleries are known to be windowless, dead ends, sharp turns and changes in floor height, all of which were designed to disorient people walking in them. A combination of symmetry and asymmetry was used in the design and planning of the site construction, and in fact, guided the design. There were centered placements of staircases, entrances, and patios, all of which were consistently prominent. In the last stages of construction, due to constraints, centeredness was no longer possible, so architects shifted to constructing symmetrical pairs. Externally, buildings were asymmetrical to each other. The primary construction materials used were quartzite and sandstone, white granite, and black limestone. Alternate coursing of quartzite was used in the major platforms, while white sandstone and white granite were used interchangeably in the architecture, and were almost always cut and polished. Granite and black-veined limestone were the raw materials used in almost all of the engraved lithic art at the site. Granite was also used extensively in the construction of the Circular Plaza. Stone-faced platform mounds at the site were made using an orderly fill of rectangular quartzite blocks in leveled layers. Platforms were built directly on top of fallen wall stones from earlier constructions, as there was little to no attempt to remove debris. Art The Chavín culture represents the first widespread, recognizable artistic style in the Andes. Chavín art can be divided into two phases: The first phase corresponding to the construction of the "Old Temple" at Chavín de Huántar (c. 900–500 BCE); and the second phase corresponding to the construction of Chavín de Huántar's