Context The 20s and 30s marked a time in BarIn 1947, El Jardines de Pedregal were de-
ragán’s life when folk architecture, name-
signed as an architecturally planned resi-
ly color and texture, became increasingly
dential community set upon the rocky land
fascinating. The village styles of geometric
outside Mexico City. Its story arises from a
simplicity, use of shadow and color, and
confluence of people, opportunities, ideas,
ease of climatic functionality would soon
events, and place - at the center of which
enough serve Barragán as primary references
stood Luis Barragán.
when working out designs for contemporary houses. In his Pritzker Prize acceptance
Cultural Reaction and Expansion
speech, he explained:
Barragán was born in 1902 on a ranch in
“For me the lessons contained in the traditional architecture of the Mexican provinces have been my permanent source of inspiration: their whitewashed walls; the tranquility of their courtyards and kitchen gardens’ the colour of their streets and the humble majesty of their squares surrounded by shady porches.” (Pauly, 24.)
Guadalajara, Mexico to a family of farmers. Later described as autobiographical, Barragán’s repertoire was greatly influenced by the rural surroundings of his upbringing- by nature as much as traditions, fiestas, vernacular architecture, and art (Pauly, p15). His formative years coincided with a turbulent period of contemporary Mexican history, with the decade-long revolution of 1910 followed by civil war. It wasn’t until the 1930s when peace and stability came. Thanks to the new president, General Cardenas, industrialization was promoted, including large scale public works and radical land reform. Above all, nationalism was seen as a vehicle for social cohesion, and this had a profound effect on contemporary Mexican art and architectural styles (Pauly, 18). Also during this time, and well into the 40s, Mexico City became an international cultural hub - “a melting pot of intellectual and artistic talent” (Pauly, 21). Although aware of the many post-revolutionary circles, Barragán tended to veer away - mainly due to the fact that he, along with his friends and clients, came from the affluent conservative class.
As a young man, Barragán embarked on many trips to Europe. He visited Portugal, France, Norway, England, Holland, Belgium, Greece, Sweden, Austria, Morocco, and Spain. Monastic architecture and the works of Ferdinand Bac were of key interest, but more importantly, Barragán was in search for the roots of Spanish style. The most legendary stop along his travels was Alhambra in Granada. As a hydrolyic engineer, he was fascinated by the site’s irrigation system and how the layout of the garden hinged on the provision of water, a vital and scare resource (Pauly, 47). Reflecting on a memory there, Barragán explains: “At a certain moment, there opened up before me the marvelous space of the porticoes of that courtyard, standing out strongly against the blank walls and the sound of water. I’ve never forgotten the emotion I felt.”
Terrain and Climate
Livable Serenity
Ideal both for its distinctive physical envi-
“Any work of architecture which does not express serenity is a mistake.” -Barragán
ronment, maritime climate and hillside setting, El Pedregal was proposed as an alterna-
Playing the split role of steward, miner, and
tive development to the nearby, flood-prone,
architect, Barragán offered Pedregal a vi-
overcrowded Mexico City. Historically, the
sion for a sort of urbanistic suburbanity by
1250-acre site traces back two millennia to
proposing a balance between the detached,
when volcanic eruptions from a long deep
self-oriented private garden and a communal
fissure running parallel to the 4-mile chain
whole of shared roads, plazas, and scenery.
of peaks formed by the Xitle, Cuatzaon-
His respect for the land, its vegetation, and
tle, Oloica, and La Magdalena volcanoes
prior occupations was equally linked with
covered the southern end of the Valley of
greater economic aspirations. To succeed at
Mexico with a 15-square mile bed of lava.
both, he employed his long-term influences
The purplish-black, jagged, baroque rocky
of surrealism, serenity, and mystery, all of
forms that developed vary in thickness be-
which made Pedregal attractive aesthetically
tween 20 inches and 30 feet. These unique
and intellectually among advertisers.
forms, combined with the sporadic flora of lichen, mosses, gold grasses, flowering cacti,
Barragán studied and worked with local art-
succulents, thistles, orchids, rock flowers,
ists to achieve a harmony of the architectur-
palos bobos, oaks, pitch pines, pepper trees,
al development and the landscape.
pomegranates, colorines, and various flow-
These included two of the area’s key cultural
ers, create a rich ecosystem that continues to
figures: Dr Atl, who painted volcanic sites
inspire cultural resonances to this day.
and introduced Barragán to the site of Pe-
Mexico’s sun is bright and casts intensely
dregal, and Diego Rivera, who acted as his
dark shadows. Porticos, courtyards, and log-
advisor in the projects early stages.
gia are commonly used to ameliorate harsh
Only contemporary construction was al-
exposure. Peaceful atmospheres of “shadow-
lowed and “California Colonial” was for-
iness” therefore sculpt interiors, creating a
bidden. In a lecture given during Pedregal’s
depth of coolness. Barragán respected tradi-
development, he describes: “we have found
tional solutions to climate: “We should try
that in order not to harm and spoil this
to create the same attractive planar surfaces,
landscape beauty, and to create beautiful
spaces and volumes that exist in pre-Colum-
architectural forms that will not compete
bian, colonial, and folk architecture, but
with them, they must be of such simplic-
giving it a truly contemporary expression.
ity - abstract in quality-preferably straight
In doing so, without repeating, we might
lines...flat surfaces...and primary geometric
attain the pure experiences of centuries gone
forms.”
by that have made life agreeable” (Pauly, p34).
A New Eden, A New National Identity At a glance, Pedregal is a landscape distilled as much from international modernism as it is from a regionalist architecture, and as such marked a critical moment of Mexican cultural definition. Octavio Paz, a poet who viewed the 1940s as a ripe time for Mexico to invent new traditions and future wrote, “the whole history of Mexico can be regarded as a search for our own selves, which have been deformed or disguised by alien institutions, and for a form that will express them.” In Pedregal’s context of
highly peculiar
forms and rich historical associations with early human settlement, Barragán’s design became a strong response to this void in national identity. By simply deciding to build there and reclaim the region through an integrated, site-sensitive architecture, Barragán gave Mexico a new voice. The Mexican design journal Espacios articulated this beautifully:
1947 was an important year for the world. It marked the beginning of the Cold War, the United Nations, the World Trade Organization, as well as bikini fashion. It was the year Cannes’ had its first film festival, Anne Frank’s journal was published, the instant camera, as well as the transistor, the Frisbee.
“When the shadowed footsteps of man arrived to inhabit what until yesterday was uninhabitable, when the gaze of modern woman was integrated with the poetic rhythm of the landscape, when the child of Mexico let go his first laugh in his brand-new Pedregal home and his jubilation was heard as an index of life and happiness - finally! Cuicuilco, grandfather of the pueblos, felt reborn in the human work of eternal Mexico.” Furthermore, the gardens at Pedregal forged a unique connection between Mexico and contemporary architecture extending far beyond, into the entire world.
Claims & Concepts
Place For Barragán, the existence of an interna-
“Architecture is an art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being.” -Luis Barragán
tional or even national architecture was absurd. He strongly believed in a “vernacular” architecture or what others may call a
The word atmosphere is almost superfluous
critical regionalism - the idea that every re-
when used to describe the work of Luis Bar-
gion was responsible for generating its own
ragán, for in most cases, it is the work itself.
architecture rooted in its own time, culture,
Similar to the dialectical way film editing
traditions, climate and materials. According
forges new meaning from separate known
to a former employee, Alejandro Margain
parts, Barragán is able to form unique spa-
Flores (whose first job entailed paths for El
tial realities out of four main atmospheric
Pedregal): “the design and construction of
layers: place, sensation, climate, and light.
gardens always began with a detailed investi-
His obsession with finding the “magic” of
gation of the site in its natural state, in order
a place and his ability to do so with every
to make references concerning topography,
project has seduced designers, artists, and ar-
native vegetation, type of soil, and orienta-
chitects for generations. Reflecting in 1989
tion of the terrain.”
on this personal pursuit, Barragán sites the
On visits to Pedregal in particular, he re-
influential gardens of Ferdinand Bac and
members, “Our field trips to the construc-
describes the importance of empowering a
tion sites generally began at 6:00am because
place, whether it be a patio, living room,
Barragán believed the construction had to
or garden, with an “air of bewitchment”
be seen with the oblique rays of the morn-
(Phoenix Papers). This act of “empowering
ing, and many times, with the setting sun in
a place” can be interpreted as Barragán’s un-
the evening.
wavering commitment to the production of
He used to comment that the midday sun
atmospheres.
never projected interesting shadows nor did ”Do you know who has influence me a great deal? De Chirico. I found in him the magic I always searched for. When I saw his paintings, I thought this is what I can do with landscape architecture.” Luis Barragán in 1976.
it provide spectacular proportions”(Phoenix Papers). Here is Barragán’s first rule of working with atmospheres: one must approach each work with the spirit of the place, and search for a way to integrate the user with the constructed space - the space with the natural environment
Left: Fountain ribbon and wall at the Plaza del Bebedero on the site of Las Arboledas (1958-61). “I think there is mystery when you see the top of a tree behind a wall” noted Barragán. Photo: Armando Salas Portugal.
Top: Giorgio De Chirico, Melancholy of a Beautiful Day. Bottom: Light levels activate the indoor swimming pool and dining space at The Gilardi House in Mexico City, designed by Luis Barragán in 1975-7. Photo: Barragán Foundation.
Sensation
Climate
“Color”, he described, “ is employed as an
Architecture to Barragán was inherently
As stated before, Barragán carried out pre-
agent for metamorphosing spaces and cre-
ontological in that it was centered on the
liminary studies of physical conditions at his
ating different ambiances.” Almost like a
improvement of human existence. Arguing
projects´ proposed sites but
drug, colors affect states of mind of the user
that architecture should address the physi-
climate also played a very important role
or inhabitant. “If a house changes its color,”
cal, the biological, the creative, and the spir-
in the disposition of his designs for interior
wrote Barragán, “it changes its overall atmo-
itual, “Barragáns architectural designs con-
and exterior space (David Avila). For exam-
sphere and spirit” (Pheonix Papers).
sider the sensual perception as a key element
ple, main facades were turned south, which
of the spatial experience” (Phoenix Papers).
welcomed cool, prevailing winds and foun-
By the late 1940’s Barragán was using fine
Ignoring the idea of house-as-machine and
tains in or around houses provided evapo-
arts techniques and painterly placement of
the general architectural code for securing
rative cooling. Furthermore, in response to
color in architectural designs to create pic-
minimum levels of comfort for a project, his
the maritime climatic conditions of central
torial depth. White walls turned to brilliant
proposals paid extra attention to sun pat-
Mexico, Barragán was one of the very few
colors rooted in how his culture experienced
terns, day lighting, noise control and ven-
contemporary architects to use terraces, por-
the world: “ These colors restore the spir-
tilation until a balance between the physical
ticoes and roof areas as low-energy comfort
its, of our people, for whose retinas supreme
conditions and the built environment was
spaces in a house design (David Avila). Ad-
beauty vibrates with the more audacious
established. Describing it in 1989 as an
ditionally, these spaces served as atmospher-
values and contrasts of tropical colors, of
emotional architecture, he refused to sac-
ic observation decks, for viewing or engag-
the variegated colors of tropical plants and
rifice beauty for functionalism and instead
ing with weather and nature phenomena.
birds” (Architect of Color).
feel and think. Advocating for atmospheres
Volumes of Light & Color
In addition to color, Barragán was sensitive
of solace, Barragán was known to say: “One
Undoubtedly Barragán’s most signature
to levels of light and insisted that not all
must learn how to listen to silence…. Only
way of layering atmosphere is the way he
activities or individuals required the same
in intimate communion with solitude may
brilliantly manipulated simple geometric
amount of light. Sun movements were also
man find himself. Solitude is good compa-
constructions with the use of color and
carefully considered in all his projects. One
ny and my architecture is not for those who
natural light. Learning from Bauhaus pro-
example is the pool and dining room area of
fear or shun it” (Architecture of Color).
fessor Johannes Itten, Barragán would mix
the 1976 Casa Gilardi where a “slice” of sun
contrasts - such as warm light with planes of
enters from a hidden source above and re-
cold light, painted trellises against openings,
flects into the pool as it moves dynamically
slivers of stained glass in walls, and windows
throughout the day (Figueroa Anibal).
strove to make places where people could
above water- and in doing so, was able to dramatically change inside or outside spatial qualities as much as one’s perception of them.
Top Left & Middle: Luis Barragán, San Cristobal Stables. 1967 Bottom Left: As a response to Barragán’s notorious emotional approach to architecture, essence rather than structure is captured at Casa Barragán by photographer Noritoshi Hirakawa.
Left: Contrasting color and light temperature, a yellow grid produces an effect of sunshine even on cloudy days at Las Capuchinas Convent, 1955. Photo: Ignacio J. Padilla.
Peace One cannot observe Barragán’s work without appreciating his reverence for the mystery and power of atmosphere to elevate space, and ultimately, human experience. To conclude in his words: “Serenity is the great and true antidote against anguish and fear, and today, more than ever, it is the architect’s duty to make of it a permanent guest in the home, no matter how sumptuous or how humble” (Architect of Color).
Top Left: Photo www.ciudadanosenred.com.mx Bottom Left: “Color is a complement to the architecture” at Barragán’s Antonio Galvez House; “It serves to enlarge or reduce a space. It’s also useful for adding that touch of magic a place needs.” Photos: Yutaka Saito Right: Quotation from Luis Barragán: “All architecture which does not express serenity fails in its spiritual mission. Thus it has been a mistake to abandon the shelter of walls for the inclemency of large areas of glass.”
Earth
Rock Fragment
Air
Loggia
Light
Color
Water
Climatic Taxonomy
Water’s Edge
By 1951, El Pedregal had been divided Tree
Forecourt
Void
Swimming Pool
into 700 individual lots with fifty houses constructed and thirty more in design de-
Wall
Balcony
Shade
Landscape Pool
velopment. The gardens Barragán designed were based on principles specific to Moorish
Secret Garden
Courtyard
Fountain
gardens, namely open-air rooms delineated by wall partitions, drops in land level, and
House
Plaza
Watercourse
Outlook
Pergola
Waterwall
glossy, aural pools. This chapter presents a catalogue of typo-
Rock Fragment El Pedregal is characterized by a pervasive presence of lava outcroppings, left in situ or placed by Barragán himself in acts of preservation and incorporation of the natural Xitle volcanic landscape.
Tree Being a fertile region, Barragán continued to plant and preserve many native trees such as Oaks, Peppers, Palos Bobos, Pitch Pines, and Colorines.
Wall Walls enclose, deflect harsh winds and welcome solar warmth. Barragán employed walls as vertical vessels to catch heavy light. Within them, one is remote and held in sunshine. Found throughout El Pedregal, walls line streets, traverse gardens, and enclose each property.
Climate Action: Celebrate Existing Climate
Climate Action: Actively Ameliorate Heat/Amplify Light
Climate Action: Passively Ameliorate Heat/Amplify Light
Secret Garden Privacy was a key issue with Barragán; he was adamant about the need for private gardens. Walled “open-air rooms” are Barragáns secret gardens. Designed as settings conducive to a healthy and necessary sort of “spontaneous meditation” they remained veiled to passerbys.
House Sanctity of the family unit, security, solitude, and a new modern Mexican architecture were themes built into every single house at El Pedregal. Ironically, houses were designed as permeable envelopes, although rooted in solid ground.
Outlooks Whether it is a view of a small courtyard or the vast Valley of Mexico, viewpoints were used discerningly by Barragán - either to intensify open space or make it more intimate.
Climate Action: Actively Ameliorate Heat/Amplify Light
Climate Action: Passively Amplify Light and Air Flow
Climate Action: Celebrate Existing Climate
Park The Public Park and Demonstration Gardens were the largest of El Pedregal’s designed landscapes. They shared terraced lawns surrounded by trees, rock-linked paths and stairs. and walls and gates - bringing the atmosphere of privacy to a public dimension.
Floor As an indoor typology brought outdoors, floor typologies stud El Pedregal in multiple forms such as small sand patches, wide lawns, stone plazas, and glossy pools.
Stair Path Crevices between the lava formations were cleared for paths in almost all of the public and private gardens. Rough cut stairways pass between rock terraces that led to pools, fountains or small patches of lawn.
Climate Action: Passively Amplify Light and Air Flow
Climate Action: Passively Ameliorate Heat/Amplify Light
Climate Action: Celebrate Existing Climate
logical design elements used by Barragán to Park
construct, interact with, and enhance the climatic identity of El Pedregal. For Bar-
Floor
ragán, climate encompassed building both thermal and optical comfort into the project
Stair Path
at different scales, but above all it was about saturating space with a complete sensorial experience. Therefore, Barragán’s “climate” is fundamentally a spiritual realm. At El Pedregal, climate was intentionally cultivated to ignite emotions, in addition to the usual physical responses associated with body, temperature, light, and moisture. Earth The Gardens of El Pedregal can be thought of as volcanic orchards or telluric gardens - gardens of the earth. In order of significance, the following elements are Barragán’s vocabulary for creating climatic effects rooted in the ground.
Site Plan Wind
Site Plan 1949 1. Barragan’s “El Cabrio”, Pedregal’s First Garden 2. Plaza de las Fuentes (Plaza of the Fountains) 3. Cetto House 4. Demonstration Houses 5. Demonstration Gardens 6. Casa Eduardo Prieto López 7. Public Park
1. El Cabrio 2. Plaza de las Fuentes 3. Cetto House 4. Demonstration Houses 5. Demonstration Gardens 6. Casa Eduardo Prieto López 7. Public Park
Top: A typological investigation of El Pedregal’s climatic identity.
In 1944, Barragán bought a piece of land
Air
south of the capitol on the rocky plains of
The maritime climate of El Pedregal was
El Pedegral, and there he withdrew for al-
celebrated, with occasional amelioration in
most a decade from active practice to enjoy
times of extreme heat or humidity. In or-
semi-retirement and personal experiments
der of importance, the following elements
in garden design. During this time, he creat-
are Barragán’s architectural vocabulary for
ed a complex of enclosed gardens as outdoor
accentuating El Pedregal’s ideal thermal
living rooms for meditation. Yet in the thick
regimes experienced each season, brought
of modernity, Barragán began to resent the increasingly public life of the working man. As a result, his emphasis on the provision
Loggia Loggias extend the architecture of the house into the garden and open up views. The Alhambra-inspired form changed to a modern square frame. Yet, true to function, his loggias welcome winter sun while shading out summer sun, thus providing year-round comfort.
about by wind.
Color As Barragán once said, “If a house changes its color it changes its overall atmosphere and spirit”. When applied to a wall, color enhances light by animating it, reduced light by absorbing it, or uses it by reflecting it.
Void Throughout El Pedregal, voids are used by Barragán to harvest natural light or welcome infinite views to the sky.
Climate Action: Actively Amplify Light
Climate Action: Passively Amplify Light and Airflow
and enjoyment of private space became stronger than ever before: “ I would like to express clearly the spiritual and physical rest which one may derive from the habit of spending some time daily in a garden which gives one the same sensation of private and intimate ownership, as that of a traditional home. Such a garden leads a man to the common use of beauty as much as the use of our daily bread, and causes man unconsciously to fall in an atmosphere of spontaneous meditation without any effort and with reduced nervous tension…. Such a garden helps so much in the development of personality and in avoiding standardization of the mind.” It wasn’t long before he returned to pursue
Climate Action: Actively Ameliorate Heat/Amplify Light
Light Barragán’s most signature way of working with climate is how he manipulated natural light. Sun movements were carefully considered. His reverence for the mystery and power of light to elevate space - and ultimately, human experience - is his most powerful agent for transforming a space and Forecourt In many of the private homes, Barragán designed an open area in front of the entrance. Although typically a space for short-durational use, for example when leaving one’s car to enter the house, the forecourt was often designed to be open for maximum air flow.
Shade Areas for reprieve from solar radiation are located near sitting areas, usually adjacent to a pool area, where humidified air leads to more ambient temperatures. Aesthetically, light and shadow become dynamic formal elements within a space as the sun moves throughout the day.
Courtyard Courtyards seamlessly integrate landscape into the architecture of a dwelling. They are also outdoor living spaces that afford privacy and can incorporate other passive devices into its design for year-round outdoor comfort. Scales vary but in every case they are frames for light and air.
Climate Action: Passively Amplify Light and Air Flow
Climate Action: Passively Ameliorate Heat and Light
Climate Action: Passively Ameliorate Heat/Amplify Light
Balcony As low-energy comfort spaces, balconies were typically located above water features providing evaporative cooling, and welcomed cool, prevailing winds. As atmospheric observation decks, they also provided viewing or engaging with weather and nature phenomena.
Plaza At Pedregal, plazas are places for passage. The entrance, Plaza de las Fuentes, is a playground for light. By day, a large white grille-fence creates geometric shadows against wild rock forms. By night, a scarlet grille-fence comes alive when cars illuminate it as they drive by.
Pergola Used to support vines and ideal for maximizing growth of vegetation above walks, pergolas provide a framework for abundant leafy screens of cool shade. Instead of an accessory object added after-the-fact, Barragán integrated pergolas into the architecture itself - a sort of living wall.
Climate Action: Passively Ameliorate Heat/Amplify Light
Climate Action: Passively Amplify Light and Shadow
Climate Action: Passively Ameliorate Heat and Light
for the rest of his career a community development of private gardens, one for each house, that came to be regarded as his most pivotal work - Le Jardines del Pedregal. Barragán worked closely with fellow architect Carlos Contreras on the layout plan and work began in 1947. Nearly 100 architects participated in the early stages; the first ending in 1952, the year Barragán left disillusioned with the development program, and the second occurring between 1952 and 1960.
creating different atmospheres.
In order
of significance, the following elements are Barragán’s vocabulary for creating climatic effects rooted in light.
Swimming Pool Swimming pools or loggia pools create pleasant micro-climates that welcome the body and are beautiful focal points in the garden.
Climate Action: Passively Ameliorates Heat
Climate Action: Actively Amplifies Thermal Comfort
Water Whether it’s the passive, smooth calm of a pool, or the violent rush of a tall, gravity-defying fountain, water is popular with Barragán. He uses it to empower a space, to emphasize textures, colors, and shapes of stone, to reflect and double geometric lines of nearby walls, and to cool air as it passes Landscape Pool Placid waters at the Public Garden collect and hold rainwater, thus transforming the landscape by adding moisture to the air. Also, as focal points of a garden, their physical and psychological effects welcome visitors year-round.
Fountain At Pedredal, the Fountain of the Ducks provides ambient habitats for wildlife and optical intrigue for residents.
into adjacent living spaces. El Pedregal’s first garden, Barragán’s own “El Cabrio” features a waterfall that rushes over a rocky slope onto antique busts. Night and day the song
Climate Action: Passively Ameliorates Heat
Climate Action: Actively Ameliorate Heat
of water can always be heard as it disperses its mist onto trees located at the edges. In his words: “Water is music, water is relaxation, water is enjoyment. But water is also light…” (1980). In order of significance, the following elements are Barragán’s vocabulary for creating climatic effects related to water.
Watercourse Peaceful, long-flowing channels through the Public Gardens add aural intrigue to a walk.
Waterwall Rapidly moving vertical fountains, such as the one at Casa Eduardo Prieto López, excite air in the garden and lower ambient temperatures. They also act as aural and kinetic curtains of water, luring the visitors gaze. At times, sunlight caught in the water path creates a prism.
Climate Action: Passively Amplifies Airflow
Climate Action: Actively Ameliorates Heat/Amplifies Light
Site Plan 1949
Water’s Edge Thermal and optical comfort is provided to people and vegetation that dwell at the waters edge. Sunlight reflecting off water adds warmth on a cold or windy day, whereas in summer, evaporative cooling and misting bring cool relief. Year-round, the proximity of water brings peace.
A. House B. Courtyard/ Floor (Terrace) C. Loggia (Lounge) D. Rock E. Color (Yellow) F. Balcony (Bedroom) G. Swimming Pool H. Secret Garden I. Outlooks (West and South) J. Wall K.Shade L. Water’s Edge M. Void N. Tree O. Forecourt (Entrance)
1. Barragan’s “El Cabrio”, Pedregal’s First Garden 2. Plaza de las Fuentes (Plaza of the Fountains) 3. Cetto House 4. Demonstration Houses 5. Demonstration Gardens 6. Casa Eduardo Prieto López 7. Public Park
Detail Plan, 1949 Climatic Elements at Casa Eduardo Prieto López
Total Landscape At El Pedregal, climate was intentionally cultivated to saturate space and ignite an emotional, sensorial experience in addition to the usual physical responses associated with body, temperature, light, and moisture. Presented here is a regional plan, a section of a typical home, and an exploded collage made to explore the different layers that together produce El Pedregal. Being at mid latitude amidst a perfectly mild maritime climate, El Pedregal experiences cool summers (with an average temperature near 71˚F), and mild, dry winters. The volcano, Xitle, meaning “navel”, is a monogenetic volcano in the southwestern part of Mexico City that erupted during the period AD 245-315. Among the consequences of this eruption was the formation of the Pedregal lava fields that Barragán incorporated into each garden design.
Left: Relational Landscape: Xitle Volcano and El Pedregal site. Top: Estimated Xitle Lava Flow Patterns, AD 245-315.
Left: Mexico City Region today. (Photo by: X) Right: Climate and Vegetation Data of Mexico, site is black dot. Bottom: Estimated Xitle Lava flow direction and extent.
Sink: daily heat absorption gathers within lava outcroppings.
Source: re-radiation of stored heat at night warms nearby air.
“It should be remembered that light comes from the whole sky as well as from the sun, and from other reflecting surfaces as well. Light reverberates between the sky and the earth and between surfaces.” - Tim Ingold in “Being Alive: Essays on Movement, Knowledge, and Description”
Climate Collage In Pegredal, the technique of composition or collage is common practice: lava, a local tree, or a pool become objectified foregrounds, light is amplified with color as
S
shadows are with walls, and the background is set amongst the terrain, sky, or air. (It is wroth noting that furthermore, how each designed space was photographed by Portugal emphasizes the importance of framing these spaces as collages or total compositions.) In this way, Barragán used a climatic catalog to create an object or tactile realm for living - not unlike Corbusier’s house as a “machine for life”. Medium, substance, and surface are blended into the ultimate dimension: a landscape. (add Gibson reference.) In other words , Barragán poetically manipulated climate as object.
N
Left: Collage: El Pedregal’s Total Landscape (Inspired by an AA student drawing). Right: Map of regional climate context and solar flows.
Sensory Maps Barragán was a master at spinning conventions of space and atmosphere into objects of perception. At Pedregal, private experiences of light, shadow, color, air, warmth, and sound infuses the sensory subject - the visitor. Architecture is appropriated as art, aesthetic emotion as vernacular atmosphere, and solitude as environments of well-being. These spaces become animated as the day and weather changes, leading visitors to not only perceive different things, but to perceive the sames things differently and to contemplate the meaning of life, or to enjoy a moment that gives life meaning.
Climatic System at Work: A sensory map at the local scale. House and landscape integrate and foreground the role of climate as a way of cultivating a healthy private space. Vernacular architecture (indicated by the map texture on the roof) and aesthetic pleasures (within thermally-charged courtyard walls) mix with climatic amplifications through the use of local lava outcroppings, trees, and colors. At the center is the visitor’s body and mind. Here, it’s Barragan himself, as one might imagine, as designer, quietly contemplating his creation, but more importantly, as visitor, enjoying a moment of solitude.
Left: Barragán in his office with the El Pedregal design plan in the background.
Diurnal Temperature Profile : 7:00AM Sunrise
Nocturnal Temperature Profile: 8:00PM Sunset
Typical Exterior Climatic System
Diurnal Temperature Profile : 7:00AM Sunrise
Nocturnal Temperature Profile: 8:00PM Sunset
Typical Interior Climatic System
Additonal Sources Chapter 2: Claims and Concepts • • • • • • • •
Avila, David. An analysis of the contributions of lighting and climate to the architecture of Luis Barragán. 2006. Retrieved from http://www.unige.ch/cuepe/html/plea2006/Vol2/PLEA2006_PAPER876.pdf Barragán: The Complete Works. 2003. Durao, Maria. Color as Pathway of Light: Searching the Shadow in Luis Barragán. 2010. Retrieved from file:///C:/Users/Hillary/Desktop/Barragán%202/23-84-1-PB.pdf Eifler, Emily. Luis Barragán, Architect of Color. 2013 Retrieved from http://blog.colourstudio.com/2013/03/luis-Barragán-architect-of-color.html Figueroa, Anibal and Gloria Castorena. Bioclimatic Lessons from Luis Barragán’s Architecture. 2006. Retrieved from https://www.academia.edu/1438117/Bioclimatic_Lessons_from_Luis_Barragáns_Architecture Martin, San. Luis Barragán: The Phoenix Papers. 1997.
Chapter 3: Climatic Taxonomy • • • • • •
Eggener, Keith. Gardens of El Pedregal. 2001. Martin, San. Luis Barragán: The Pheonix Papers. 1997. Pauly, Daniele. Space, Shadow, Walls and Colour. 2002. Steenbergen, Clemens. Composing Landscapes. 2008. Sullivan, Chip. Garden and Climate. 2002. Pedregal Photos (in order of appearance) 1. Demonstration Garden and Office, Armando Salas Portugal 2. Prieto Lopez House, Pedregal, 1949, Armando Salas Portugal Public Park, Keith Eggener 3. Casa Cetto,1949, Unknown 4. Calle del Farallón 265,1950, Unknown 5. Demonstration Gardens, Armando Salas Portugal 6. Public Park, 1959, Juan Guzman 7. Calle del Farallón 265,1950, Unknown 8. Demonstration Gardens, Armando Salas Portugal 9. Plan of Plaza de Las Fuentes, 1949, Wim Van Den Bergh 10. Demonstration House Room, 1949, Armando Salas Portugal Casa Eduardo Prieto López, 1949, Armando Salas Portugal 11. Casa Eduardo Prieto López, Unknown 12. Advertisement, Unknown 13. Av. de las Fuentes 130, 1950, Unknown 14. Casa de Pedro Ramírez Vázquez, 1960, Unknown 15. First Floor Plan, Casa Eduardo Prieto López, Unknown 16. Plaza de Las Fuentes, 1949, Armando Salas Portugal 17. “Emotional Architecture”, Noritoshi Hirakawa 18. Casa Eduardo Prieto López, 1948-51 Eliot Elosofon, LIFE 19. Casa Eduardo Prieto López, 1948-51 Eliot Elosofon, LIFE 20. Pond and Public Park, Unknown 21. Fountain of the Ducks, Armando Salas Portugal 22. Demonstration Gardens, Unknown 23. Waterwall, Demonstration Residence, Unknown 24. El Cabrio Waterfall, 1943, Armando Salas Portugal 25. Plan for Casa Eduardo Prieto López, 1949, Wim Van Den Bergh