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Basic Facts:

Name: Casa Luis Barragán  Location: Tacubaya, Mexico City, Mexico Architect: Luis Barragán  Date of Construction: 1948

Finding Mexico City, and Luis Barragán, Again. N.d. The New York Times. By Guy Trebay. Web. 20 Sept. 2017

Ang, Rachel. “Casa Barragan, 1948, Mexico.” A magazine. A magazine, 12 May 2013. Web. 20 Sept. 2017

Zanco, Federica and IIaria Valente, Barragán Guide. Switzerland: Barragan Foundation, 2002. Print. 

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Purpose, Program, and Users of The Building

Purpose: A place to live/studio; currently set up for display and tours are held by appointment. 

User: Luis Barragán.

Program: Barragán wanted to respond to a tree located at the side of the building. Building around the tree, he demonstrated integration of exterior and interior, the windows also portray that interrelation. Overall, responsiveness to nature. 

"CASA LUIS BARRAGÁN." CASA LUIS BARRAGÁN. © Fundación De Arquitectura Tapatía Luis Barragán A. C., n.d. Web. 21 Sept. 2017

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Plans and Sections

Ground Floor Plan 

First Floor Plan

Second Floor Plan

Street Façade / Exterior of the Building (1)

Garden Façade / Posterior Elevation (2)

Sections

Planta Baja. N.d. Planos. CASA LUIS BARRAGAN. Web. 21 Sept. 2017

Segunda Planta. N.d. Planos. CASA LUIS BARRAGAN. Web. 21 Sept. 2017

Tercera Planta. N.d. Planos. CASA LUIS BARRAGAN. Web. 21 Sept. 2017

Cortes. N.d. Planos. CASA LUIS BARRAGAN. Web. 21 Sept. 2017 

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Exterior Of The Building

Materials: concrete, wood, glass.

The exterior of the house is simple. It is a plain, modest, and close facade facing the street that contrasts with the richness of the house’s interiors.

The only decoration found in the exterior is a bay window, which brings natural light into the house.

Luis Barragán House.” Uno Design RSS. Ouno Design, 16 May 2010. Web. 21 Sept. 2017. Zeballos, Carlos. “MY ARCHITECTURAL MOLESKINE: LUIS BARRAGAN: HOUSE AND STUDIO.” Awesome Inc, 30 Oct. 2011. Web. 21 Sept. 2017 Alfaro, Alfonso, Daniel Garza Usabiaga, Juan Palomar Verea, and Luis Barragan. Luis Barragan. His House. Mexico City: Editoral RM, 2011. Print.

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Barragan Guide

Cited: Pg 2, Pg 3, Pg 9, Pg 12.

Summary: The Barragn Guide presents architect Luis Barragn's constructed works to a broader public by providing the main points to his creative evolution and his cultural context. This book focuses on three main Mexican cities: Guadalajara, Monterrey, and Mexico City (home of Casa Barragan). This guide provides not only a chronological survey of Barragn's surviving work, but also an interesting experience of three urban realities that constitute the basis of his architectural practice and the context of the work of his followers. 

Zanco, Federica, and Ilaria Valente, Barragán Guide. Switzerland: Barragan Foundation, 2002. Print. 

Luis Barragan: His House

Cited: Pg 9, Pg 12. 

Summary: His House talks about Luis Barragan, the architect who was awarded the Pritzker Prize in 1980 for Casa Barragan, which is considered one of the ten most important houses of the twentieth century. His House offers a complete visual tour of the house and studio, as well as the superb garden that surrounds it. Lastly, this book includes three essays by experts in Barragán's work: "The House and Its Cultural Context," by Daniel Garza Usabiaga, "Architecture: A Personal Space," by Juan Palomar and a detailed account of Barragán's library and collection of art works and objects by Alfonso Alfaro.

Alfaro, Alfonso, Daniel Garza Usabiaga, Juan Palomar Verea, and Luis Barragan. Luis Barragan. His House. Mexico City: Editoral RM, 2011. Print.

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Drawing

This drawing of the terrace shows Barragan’s use of grand scale, space, and color. 

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1. Interior Of The Building

Studio Interior: A large window, divided into four quadrants looking into the interior garden purposely left in its natural state. 

Entrance First Floor enhances the building’s continuity and natural flow. 

Alfaro, Alfonso, Daniel Garza Usabiaga, Juan Palomar Verea, and Luis Barragan. Luis Barragan. His House. Mexico City: Editoral RM, 2011. Print.

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2. Google Earth

The house is located in the city (urban area), just a few minutes away form Bosque de Chapultepec, one of Mexico’s greatest parks. The house is seen as another modest building that properly blends in with the rest of the neighborhood. 

"Casa Estudio De Luis Barragan." Google Earth. N.p.: n.p., n.d. N. pag. Web.

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3. Interview About The Building

An Interview with Luis Barragan: Jorge Salvat: What do you think of modern architecture? Luis Barragán: What is modern architecture? JS: For example, the Pompidou Center. LB: It is interesting to see the effect that this kind of building produces in its surroundings; especially over the classic areas of Paris. It is necessary to analyze if in this type of architecture it is possible to concentrate on the study and the reading. It is impracticable to judge their success based solely on the number of visitors. In the case of the Pompidou Center, for example, factors such as novelty, rarity and tourist curiosity are closely linked with advertising. It is not known if this building is a success or a failure. I have not visited it and therefore can not risk an opinion. JS: What, for you, is the most interesting modern building? LB: I think the Camino Real Hotel by Ricardo Legorreta, in Mexico City, is a very interesting experience. It is a five-storey building with gardens and courtyards that emphasize tranquility and the possibility of walking on foot. The whole space is accessible to the walker without having to resort to elevators that, however, have not been forgotten. At first, in fact, it was thought that avoiding the idea of ​​tower as an image of a modern building was not good; but now it is clear that this type of project is very popular, especially in countries like Mexico where the weather is hot and where you can walk freely, using all the spaces throughout the year. JS: What roles do serenity and tranquility fulfill for you in an architectural space? LB: It seems important to me that the spaces are not aggressive. I always used low forms and permanently worked with right angles. I have taken into account, at all times in my work, the horizontal and vertical planes and the angles of intersection. This explains the frequent use of the cube in my architecture. JS: Do not you use the curved line? LB: I do not know how to use it. It is very difficult to take advantage of curved spaces because, for example, furniture can not be supported against walls. JS: What are the characteristics of the ideal space? LB: I think that the ideal space must contain elements of magic, serenity, enchantment and mystery. I think these can inspire the minds of men. It seems essential to create this atmosphere, even in the metropolis. The inhabitant of a great city needs a refuge away from the crowds; the adoption of the sober seems to me the most suitable solution. JS: How important is color to your architecture? LB: In my activity as an architect, colors and lights have always been a constant of fundamental importance. Both are elements in the creation of an architectural space; since conceptions may vary. For example, in my project for the Chapel of the Sacramentary Capuchins of the Most Pure Heart of Mary, I studied light and color closely, because I wanted to create an atmosphere of stillness and spiritual reflection. The idea of ​​semi-darkness was very important in this project. I emphasize above all the study of color: Before deciding the fair hue that I try to use, I do different tests to verify the effect and study the samples in large and small panels, evaluating the results. JS: Does the new generation of architects use the traditional modules of Mexican architecture? LB: What do you understand by traditional modules? JS: The characteristics of local tradition, such as simplicity, patios and factors lights and colors; Do you think these elements still have a meaning for our new generation of Mexican architects? LB: There is a group of professionals who still use them. JS: Do you consider yourself a pioneer of Mexican popular architecture? LB: Mexican art is wonderful and rich in color. Mexico has a "modern spirit" among the most important in the world, which is reflected in areas such as the University City.These are buildings that represent the modern spirit of Mexico and that take the sense of Mexican popular architecture, in the great Byzantine-style murals depicting the traditions of local life. I do not consider myself an innovator. At a conference in San Francisco someone asked me why there are more examples of International Style in Mexico - where the local tradition is stronger - than in the United States. To be traditionalists is to be faithful to contemporary architecture. The Maya built Maya architecture; colonialists colonial architecture. Imitation of foreign architecture is practiced antitraditional architecture. There are many examples of foreign tradition in this field. In the United States, for example, particularly in Los Angeles, the Californian colonial style, the French style with its mansardas, the Arab style united to Hollywood, together create a ridiculous collage of architecture. An analogous situation exists here in the Mexican region of Las Lomas; the prevalence of French influence does nothing less than highlight the inferiority complex that derives from this type of architectural solutions. Imagination is very important in this field. I do not agree with the severity of certain schools that tend to reduce creativity. An excellent example of creative potential is that of Antonio Gaudí. While it is true that I do not agree with all his works, I like his way of integrating nature with architecture. Gaudí always seeks to imitate natural forms in his design. JS: Is there a solution to urban sprawl in Mexico City? LB: There is no solution to the chaos of life in Mexico. There are serious infrastructure problems connected with the provision of water and electricity, and with those of fluids in general. JS: What solution do you foresee for this problem in urban terms? LB: It is not known what the future of big cities will be. Fifty years ago the man of the provinces made a fortune and settled in the cities; once established, builds a second house to leave the city. From this arises a contradiction. Another example is the "holiday concept". Alienated by the demands of the big cities, people are forced to abandon them and go to the countryside to fight the loneliness, and later, no longer resisting isolation for the same reason, returns to the city. JS: According to you, what is the most effective urban design solution? LB: I think from an urban profile, Houston is an example of great urban organization. JS: What do you think of the crisis of values ​​in architecture, for example, of Functionalism? LB: Functionalism has lost its value, people consider it a physical rather than a spiritual fact. Man needs to satisfy his spiritual desires. He needs to be isolated. The crowd contrasts with the functions of the human psyche. JS: How would you define your method of work? LB: I rely heavily on intuition and on the observations made from my readings and my travels. JS: What surprised you on your travels? LB: Except for Paris, Spain interests me more than any other place. I was very impressed by the Alhambra in Granada, with its spaces, fountains and ditches. In the case of Morocco, the casbah. Its smooth walls express a great harmony of interior life. The fusion between this type of architecture and the landscape is very interesting. It is difficult to say where the casbah ends and where the landscape begins, since both are perfectly integrated. JS: What role does nature play as part of architecture? LB: I think it's necessary to merge them. I think the idea of ​​"going outside" is important. A well-conceived layout of this type of space is essential to avoid the remanido resort of sad gardens with few plants. JS: What can you say about your last job? LB: It is a detached house in Tacubaya for the Gilardi. JS: Can you describe the characteristics of this house? LB: The most important feature of this project, besides the creation of a central patio, is the presence of an indoor pool that is part of the house, attached directly to the dining room. JS: Finally, could you give me a definition of the controversial relationship between art architecture and art in architecture? When - according to you - is architecture art? LB: From my point of view when an atmosphere of aesthetic emotion is consciously or unconsciously created and when the environment gives rise to a sense of well-being.

My thoughts: 

Barragan’s home somehow reminds me of Frank Loyd Wright’s Falling Water, as it is an example of an important formal conception regarding the integration of architecture and nature. A garden, seemingly small, designed to look so large and solemn in the courtyard adjacent to the house becomes an integral part. 

Zerecero, Maribel. “Pensamiento De Luis Barragan.” Arquitectura Y Civilización. Google Translate. n.d. Web. 22 Sept. 2017

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4. Video / Luis Barragán House and Studio - Mexico

In “Luis Barragan House and Studio - Mexico” video, I can see how in the entrance, the house is flooded with light from window on the upper part of the wall. The source can’t be seen from the ground floor, but it bounces off a gold waiting and down a set of stairs before hitting a pink wall. This creates an emphasis both in the pink wall and gold canvas.

Christ, Art. “Luis Barragan House and Studio-Mexico.” Youtube. 13 Dec. 2014. Web. 24 Sept. 2017.

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5. Blog/Website

“Two aspects characterize the intense experience of touring the house: the conception of light and color arrangement. Both stimulate the pupil from the serenity of the placid rooms to the vivid contrast of pinks and yellows with white tones and warm wood.”

I agree with the author. The first time I saw pictures of the building, I was moved by the light, color, and simplicity in its architecture. 

Zeballos, Carlos. “Luis Barragan: House and Studio.” My Architectural Moleskine. N.p. 31 Oct. 2011. Web. 23 Sept. 

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6. Magazine/Journal Article

1. Luis Barragan House and Studio is Luis Barragan’s most representative and significant work. 

2. Barragan established his architectural language in terms of organizing the interaction between physical structure and surrounding nature. 

3. Barragan spatial ambiguity does not represent disorder, but an approach for the personification of his emotive architecture. 

Han, Jiae and Jeenyun Nam.” The Representation of Ambiguity on the Spaces of Luis Barragan House and Studio.”

Journal of Asian Architecture and Building Engineering JJABE. 14.2 (2015). 287-91. Web.

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7. Book/Magazine/Website

1. One of Mexico’s most influential 20th Century Architects. 

2. Known for his mastery of space and light. He reinvented the International Style as a colorful, sensors genre of Mexican modernism.

3. One of the handful of architects who succeeded in creating their own version of modernism by imbuing it with warmth and vibrance of his native Mexico. 

4. Barragan was equally influential as a landscape architect and urban planner. 

5. In 1980, Luis Barragan was awarded the Pritzker Prize, architecture’s answer to the Nobel. 

“Luis Barragan - Design: Designer Information. “Luis Barragan/ - Design/ Designer Information. Design Museum. n. d. Web. 25 Sept. 2017.