a remodeling of this library was inaugurated, within the framework of the project "Remodeling and Construction of New Spaces of the Anahuacalli Museum". This intervention turned the Library into a multidisciplinary place, endowed with an interior architecture that enjoys a modern and functional design, which enables it to exhibit contemporary art installations and artworks of all kinds, as well as being a suitable room for conferences and talks. Ecological reserve The land where the Anahuacalli was built appeared approximately 2000 years ago with the eruption of the Xitlevolcano, which produced a lava spill that, over time, became what is now the Pedregal de San Ángel. Although the explosion devastated the landscape of the Valley of Mexico, affecting forests and lakes, a new ecosystem emerged from the volcanic rock, which has been the object of inspiration for renowned artists such as Dr. Atl and the architect Luis Barragán. Though it is believed that the main reason why Diego Rivera chose the San Pablo Tepetlapa rocky area to erect his Temple of the Arts was the availability of materials for the construction of his building there, it is not ruled out that Rivera could also have inherited the interest in Mexican flora and fauna from one of his teachers: the painter José María Velasco. Velasco's work is not only concentrated on landscape painting, but also ventured into the field of scientific illustration. In addition, it is likely that the foregoing influenced Diego's preference for using plants typical of semi-arid regions and xerophytic scrub, as opposed to the trends of the time that showed a clear preference for gardens with European aesthetics and botanical composition. In 1949, Rivera published his text "Requirements for the organization of El Pedregal" in the newspaper Novedades. In this article, he outlined the advantages of rocky terrain for building houses. In said document, he speaks of the Pedregal as a possible site for the creation of a new city, since it did not present the climate and economic complications belonging to the older regions of Mexico City, where the soil was spongier. On the other hand, one of Diego's greatest concerns was the preservation of the natural landscape; accordingly he drafted a series of specifications so as not to damage the ecosystem during the works. The artist considered that the lava had to be protected, since it endowed the territory with its unique beauty. Rivera sought to preserve