L u i s B a r r a g a n
design pioneers- assignment 3 Ya s m i n Fe n n e s s y s3659317
c o n t e n t s Introduction Biography Architectural Works Quote Landscape Architecture International Modernism Era Inspirations Collaboration with Clara Porset Life Timeline Quote Concept Development Concept Refinement Concept Renders Reflection References
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Luis Barragan once said “It is essential that architects know how to see�, to the demographic of modernists who described architecture as a machine for living. He did not see architecture as convenience but instead as an emotional space, contained by simple architectural forms which work to compliment the serenity of nature. He was well-known for his bright Mexican-inspired colours and strategic use of natural light, which he uniquely incorporated into the simplicity and sculptural smoothness of modern architecture. He is considered a modernist, but his value for beauty would not be lost under the guidance of functionalism. His reintroduction of colour and beauty in architecture were rooted in his emotional outlook on living and working, describing architecture as a function for living at ease, without mental strain or distraction. Born in Mexico, he initially studied as an engineer, but moved into architecture to fulfill his interests in nature and design. Replacing the bleakness of modernity with Barragan’s elements of serenity became a defining moment for international modernism in mid-century Mexico.
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9.04.1902–22.11.1988
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b i o g r a p h y Luis Barragan was born on March 9th, 1902 in Guadalajara, Mexico. He studied civil engineering at university in his hometown, graduating in 1923. Following his degree, he travelled around Europe, where he discovered and met Ferdinand Bac, a landscape architect from France, who Barragan was greatly inspired by throughout his career. He travelled to Europe again, and this time met Mexican mural artist Jose Clemente Orozco, and Le Corbusier, who both also influenced Barragan’s lifetime of architectural works. After meeting many architects and designers in Europe, Barragan found his interest in architecture after working in civil engineering for some time. Back at his hometown, he practised architecture until 1936, when he decided to move to Mexico City, where he went on to create many of his well-known projects. In 1947 he designed his own house and garden, which is now heritage listed as Casa Luis Barragan. This is around the time he met Clara Porset and began to collaborate with her on furnishing projects. He continued to create colourful, simplistic and serene projects up until 1967, when he designed the well recognised ‘Los Clubes’ ranch. He was inactive for almost a decade, until he was asked to design ‘Casa Gilardi’, which he only accepted because of the huge jacaranda tree which resided in the middle of the site. He went a lifetime of designing before being internationally recognised in 1975 by the Museum of Modern Art (MOMA) in New York City, where an exhibition was held in his honor. 5 years later, in 1980, he recieved architectures greatest award, the Pritzker Architecture Prize. He was only the second person to recieve this award. He enjoyed a few years of an earned worldwide admiration, before passing away in 1988 in Mexico City.
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Casa Gilardi - (1976) The Gilardi house was a unique commission for Luis Barragan, as he had been retired for almost a decade and was 80 years old. The decision to take on what would be his last project, was made when he saw the huge jacaranda tree in the backyard. He saw an opportunity to use architecture to frame the beauty of this tree, using colour and light to compliment it, and a strategic composition of walls to protect it. This project became the most reflective of his values and work ethic. Another condition which he took the job under was the proposal of a pool, which of course he accepted, as water is an important value in his work, as it creates a new dimension and surface texture, and contributed to the sounds of nature. The narrow building is powering on the street, with a bright pink facade, which stands ambiguously flat. As light perfectly filters throughout the two volumes of the house and reflects of the bright coloured walls, the spaces seamlessly cross over and are met with the backyard where the tree stands.
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Chapel and Convent of the Capuchinas Sacramentarias - (1952) This chapel and convent is an opportunity for Luis Barragan’s religous values to show through. The vision and connection he had to the project meant he would finance it himself, as his clients could not completely afford it, but believed Barragan could bring serenity and peace to the Chapel. In the seven years of construction, Barragan put as much detail as possible into the design, making it monumentally perfect and harmonious. In its simplicity, each element brings together an overwhelming serenity; most noteably the yellow lattice wall which reflects its rich warmth onto the black stone, and the pond on the other side, which is used to transfer white flowers to the altar. The strong hints of colour compliment the native timbers in the doors and detailing, bringing out a special warmth and unique ambience in the material. The static nature of the design, and opulent transitions between spaces and chapels, reflects on the simple life of a nun, and carries them through the space peacefully, leaving scattered moments of contemplation.
Las Arboledas - (1958-1961) This suburban subdivision was invisioned by Barragan to become a ranch, and solely planned around the movements of the horse. The streets, buildings and gardens were designed to be horsetracks, baths and enclosures for the horses to roam free in, some paths just wide enough for a horse to walk through. The image on the right shows a path lined with a watering trough for the horses to drink from, and also set a directive motion for them to follow. The incorporation of water into Barragan’s designs is fundamental to the sounds of nature, which are complimented by the echoing sounds of the horses hooves trotting along the stone. The continuous stream of water is in the foreground of a line of large trees, whose shadows play on the reflection of the water. Barragan’s values are shown in a wider scale in this ranch than his usual work. Especially at the entrance, where a long, red stucco wall obscures the ranch, and serves as a monumental mark for it. A bend in the middle of the wall creates the illusion of its disappearance into the horizon, and implies a mystery which resides behind the wall. The curiousity is fulfilled by the symbolic stillness of the nature against the static, surprising surfaces which Barragan implements within the space, but simply compliments the surrounding beauty of shadows and texture.
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The Towers of Satellite City (1957) A collaboration with Mathias Goeritz resulted in these five towering sculptures, marking the entrance of residential subdivision Ciudad Satellite, with a role to protect northern Mexico. Upon being commissioned, Barragan invited Goeritz to join him due to his interests in the emotional qualities which derive from tall objects. Combined with the prismatic qualities found in Barragans work, the monument evokes an intense empowerment and protection over the city. The towers, which all counterpoint the distant mountains of Mexico, can be seen from afar due to their bright colours and unique sharpness. From the ground, the towers shape warps and changed as you move around them, transforming from hard, rectangular skyscrapers, to triangular sword- like sculptures, or flat 2D planes. The illusive quality of the towers is further enhanced by its construction techniques, as you can see how they were built up in layers of metal which give it a robust verticality. The towers manage to create stillness as a threshold between cities, and offer contemplation as you enter the space.
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Los Clubes - (1963-1964)
Luis Barragan’s House - (1947)
(top) Another residential subdivision suited towards horses and horsemen was Los Clubes, which Barragan partly designed for himself. This is where he successfully captured the atmosphere of equestrian serenity in Mexico- something he vividly remembers experiencing as a child. This work thrives off it’s sensory composition - the pink wall is used to let the horses hooves echo as they enter the aqueduct, where a stream of water falls into from between a red stucco wall. Barragan’s metaphor for this what that all solid forms have a liquid centre; perhaps meaning even in a solid wall there is emotion. It also allows the solid element to transfer itself and rush into the vast liquid landscape. Rather than designing with symmetry, Barragan brings this composition together through its dynamic surfaces which all balance off each other. In a perfectly framed space, shadows play against all the textures until there comes a moment when just the water reflects itself as a singular shadow.
(bottom) Barragans own house is the perfect simulation for everything he values in architecture and as a place for living. This is where he believes his mind should be at complete ease, without distraction or complication. His garden is equal to his house; and the house looks into the garden at every opportunity. The house rejects any mention of a busy, contemporary life; it’s facade completely blank-faced towards the street, giving its only focus to the sky and its garden. The techniques in using half-light are displayed in a full glass pane wall, where he frames a complete view of the garden and blocks the harsh direct sunlight with wall extensions and a changed ceiling height. On the interior of the house, elements like the staircase seem to float effortlessly and delicately transition into other, slightly obscured spaces. A play on shadow leaves a trace of curiously before entering a space. Touches of colour bring this life to space, complimented by the native woods and Barragans sense of pre-industrial material integrity, and a feeling of serentity when met with moments of light.
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“My house is a refuge, an emotional piece of architecture, not a cold piece of convenience�
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“I don’t divide architecture, landscape and gardening; to me they are one.� Luis Barragan preferred to call himself a landscape architect, as all of his works revolved around the framing of nature and bring out the existing qualities in the landscape. However by tradition, he is more of an architect who brings nature to the forefront of design. The architecture is equal in value to nature; they work to compliment each other. An example of the strength in his landscape architecture is in his own house (above), where small moments of nature break through the tactile surfaces of his designs. This area in particular cuts out a rectangular pool seamlessly from the corner of the stone courtyard. The most landscape-focused design architecture of his career was present in his El Pedregal project from 1945-50. The architecture completely depends on the terrain, which is formed by a unique volcanic rock from the Xitle volcano eruption. He initially bought the land to retire in and relax between gardens, but instead created spaces which would respect the terrain. The houses built would follow the contours of the terrain, and flat surfaces would strikingly contrast the organic formation. It perfectly captures how the two entities of nature and modernity can be so different, but have the ability to compliment each other in their differences.
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Niterói Contemporary Art Museum by Oscar Niemeyer, Brazil’s most recognised architect of the international modernism era. Under the guidance of Le Corbusier from 1936, Neimeyer became a young prodigy with original theories and vast oppurtunity to steer modernism in Brazil. His free-flowing and simple visions became international in 1945, when he was appointed as lead architect for Brasilia, the new capital of Brazil. Joaquim Tenreiro’s graceful woodwork and vision for interior relationships names him the ‘founding father’ of modern Brazilian furniture design. Pictured is a cane and rosewood armchair which he made around 1958. His values were in the expression of simple forms, without the need for ornamentation to represent culture, but instead material. The use of untreated hardwood would reference the Brazilian climate and lifestyle, which in this case followed fundamentalism.
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Cuban-born Clara Porset became absorbed with Mexican culture and craftsmanship when she migrated there in 1935, as a result of Cuba’s corruption and dictatorship. Her interests in crafts led her to be one of the most iconic modernist furniture designer’s of the 50’s. One of her greatest achievements is her adaption of the ‘Butaque’ Chair (pictured), in which she removed ornate details and thickened up the form. The chair is a classic monument of patriachy in Mexico, originating from Spanish conquerers.
i n s p i r a t i o n s
Le Corbusier- Architect
It is in Barragan’s gardens where three of his principles fused together. The sharp geometries of Modernism, taught by architect Le Corbusier; the serene connection of architecture and landscape, from the practice of landscape architect Fernidand Bac; and an appreciation for colour in large scale, visualized by mural artist Jose Clement Orozco. By the 1940’s, when Luis Barragan had retired from engineering, he had been mentored by these three designers and had created his own style.
Ferdinand Bac - Landscape Architect
17 Jose Clemente Orozco - Muralist
f u r n i t u r e c l a r a
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In the 1940’s, all architects and designers in Mexico knew each other and either worked together, despised each other, or were inspired by one another. In the 1940’s Luis Barragan and Clara Porset began working together after he had asked to commission her for furniture to be placed in his interiors, such as this space in his own home. After seeing her work in his home, he became inspired to create some of his own furnishing proposals and designs. In the small collection of furniture designs Barragan has made, most have been either a collaboration with Porset, or directly inspired by her; in particular, the reknown Butaque chair which Porset reintroduced into modern Mexico.
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w i t h
Barragan’s Butaque chair, 1968
Barragan’s Miguelito Chairs, a variation of the Butaque chair, 1951
Table by Barragan and Porset, 1952
19 Casa Prieto Lopez Dining Table by Barragan, 1950s
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1931
1947
Barragan works with Clara Porset
1952
Cold War begins between the USA and Soviet Union
Luis Barragan’s house is built in Tacubaya, where he lives and works at ease.
World War II
1947
Moves back to Mexico City where he continues to practise architecture. Most of his major projects were completed thereafter,
Le Corbusier’s reknown ‘Villa Savoye’ is buit.
Graduates university with a civil engineering degree, and travels around Europe, meeting Le Corbusier and Ferdinand Bac.
Luis Barragan is born in Guadalajara, Mexico, on 9th of Marth
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1936
1923
1976
1969
1988
2004
Barragan’s house is listed by UNESCO onto the World Heritage List.
Berlin Wall falls, marking the ending of the Cold War.
Luis Barragan dies at 86 years old in Mexico City.
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b a r r a g a n
1980
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A lifetime of no international recognition until 1975 when Barragan was honoured with a retrospective at MOMA NY, he was awarded with the prestigious Pritzker Architecture Prize in 1980.
After 9 years of inactivity, his last project Casa Gilardi, is completed
First man lands on the moon
1959
1955-1967
l u i s
Cuban Revolution led by Fidel Castro
Barragan continues to develop his architectural works, including the Chapel and Convent and the Ciudad Satellite. In 1967 he completed his last wrok for a while; the Los Clubes ranch.
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“I believe that architects should design gardens to be used, as much as the houses they build...�
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DE V ELOPMENT materials
stucco or smooth plaster
stained native pinewood
natural stone
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colours
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REFINEMENT
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REFINEMENT
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Pink Side Table, 2020 800mm height, 1000 length, 500 width. Painted timber and stained pinewood
A table inspired by the rooftop of Casa Luis Barragan and the backdrop of Casa Gilardis jacaranda tree. The pink stucco base frames the table space, adding vibrance to a room with a simple pop of colour. The top of the table is fixed with a smooth white plane, bringing simplicity back into the surface. It lightly hovers over the pink stucco, referencing to Barragan’s play on light and shadow, and the double walls seen in Los Clubes ranch. The surface is balanced by a plank of stained pinewood, which just adds a touch of the material integrity found in Mexican modernism and in Barragan’s residential spaces. The table achieves that mystique balance of visual elements rather than symmetry; a mix of materials and colours which compliment each other. The table carries the depth of Barragans compositions, which use shadow to leave the viewer curious.
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Blue Lattice Side Table, 2020 600mm height, 700 length, 700 width. Painted timber with stone
A table inspired by the Chapel and Convent of Capuchinas Sacramentarias, with the colours from Los Arbuelas. The yellow lattice from the Chapel is one of most strongly exucuted examples of Barragans ‘half-light’ elements. The lattice is impressive construction-wise, but visually plays with light all day, either dimming it softly, or projecting brightly lit squares around the hallway. In table form, the lattice is a small homage, and projects the half-light onto the white base of the table, and the floor of its home. This table also refers to the double wall shadow, adding another dimension to the table form. The second layer of the table surface is made from stone, which is fixed onto the back of the white frame. The natural textures of the stone are revealed in the shadows; incorporating the reference to Barragans value for native materials and the landscape itself.
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Blue Lattice Side Table, 2020 600mm height, 700 length, 700 width. Painted timber with stone
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r e f l e c t i o n
Learning about Luis Barragan and his practise has opened up many ideas for me to bring into my future architectural practise. I can relate the the emotional aspects of Barragans design language as it is something I value as well; a space which doesnt carry a sense of serenity isn’t worthwhile. The way he redefined modernism for Mexico with his use of bright expressive colours was new to me. Being unafraid of colour and using it so well with already existing motifs of light and nature is admirable to me, and something I’d like to experiment with. The two tables I came to design were just a small exercise in recreating the serene ambience of Barragans designs, and for myself to move away from my black-and-white, fundamental material habits. Using colour has a large contribution to the world of architecture; it’s very hit-ormiss, and any opportunity to do it and do it well should be taken. Taking baby steps by implementing it into furniture is a good way for testing the realm, I found. During this subject I enjoyed stepping out of architecture for abit, and learning about all kinds of designers, especially furniture as I have always been fascinated with it, and as Malcolm said, it’s a break for architects. Although I had a late entrance into the discussion of design in society, it was enjoyable to learn about what art or design was interesting to each student. I think you can learn alot about a person based on what kind of art or design interests them. I think I will definitely carry what I learnt from Barragan and Industrial Design into my practice, and continue the mid-modernist pattern of architects dipping into abit of everything.
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r e f e r e n c e s -ADN Galeria (n.d.). Casa Prieto Lopez Dinning Table / Luis Barragan - Available Works - ADN Galeria. [online] Available at: http://www.adn-galeria.com/available-works/casa-prieto-lopez-dinningtable-luis-barragan?view=slider#3 -Ambasz, E. (1976). The architecture of Luis Barragàn. The Museum of Modern Art: Distributed by New York Graphic Society. -ArchDaily. (2018). How Luis Barragán Used Light to Make Us See Color. [online] Available at: https://www.archdaily.com/898028/how-luis-barragan-used-light-to-make-us-see-color biography.yourdictionary.com. (n.d.). Luis Barragán Facts. [online] Available at: https://biography. yourdictionary.com/luis-barragan. -Bossi, L. (n.d). Barragan in Mexico City. DOMUS Magazine. -COSAS de ARQUITECTOS. (2011). Casa Gilardi (1976) de Luis Barragán. [online] Available at: https://www.cosasdearquitectos.com/2011/11/casa-gilardi-de-luis-barragan/ -D&P Architecture. (2019). Inspiring Architect: Luis Barragán. [online] Available at: http://d8p.archi/ inspiring-luis-barragan/ [Accessed 22 May 2020]. -Eifler, E. (n.d.). Luis Barragan, Architect of Color. [online] Available at: http://blog.colourstudio. com/2013/03/luis-barragan-architect-of-color.html -Jiae Han & Jeehyun Nam (2015) The Representation of Ambiguity on the Spaces of Luis Barragán House and Studio, Journal of Asian Architecture and Building Engineering, 14:2, 287-291, DOI: 10.3130/jaabe.14.287 -Lohmann, B. (2019). luis barragán’s equestrian estate & fountain cuadra san cristóbal in mexico. [online] designboom | architecture & design magazine. Available at: https://www.designboom.com/ architecture/luis-barragan-cuadra-san-cristobal-mexico-city-11-25-2019/. -Newton, J. (2019). Cuadra San Cristóbal Los Clubes Luis Barragán | Ciudad López Mateos | Mexico | AFAR. [online] Available at: https://www.afar.com/places/cuadra-san-cristobal-los-clubes-luisbarragan
Phillips. (n.d.). Luis Barragán - Pair of “Miguelito” chairs, circa 1951. [online] Available at: https:// www.phillips.com/detail/luis-barragan/UK050119/144 -Plataforma Arquitectura. (2012). Clásicos de Arquitectura: Capilla de las Capuchinas / Luis Barragán. [online] Available at: https://www.plataformaarquitectura.cl/cl/02-207404/clasicos-de-arquitecturacapilla-de-las-capuchinas-luis-barragan -Pritzkerprize.com. (2019). Biography: Luis Barragán | The Pritzker Architecture Prize. [online] Available at: https://www.pritzkerprize.com/biography-luis-barragan. -The Editors of Encyclopaedia Britannica (2020) Luis Barragán | Mexican architect | Britannica. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/biography/Luis-Barragan. Side Gallery(n.d.). Luis Barragan Clara Porset table | Side Gallery. [online] Available at: https://sidegallery.com/luis-barragan-clara-porset-table/ -Uribe, B. (2018). Spotlight: Luis Barragán. [online] ArchDaily. Available at: https://www.archdaily. com/607209/spotlight-luis-barragan. -Wilson, S. (2015). Luis Barragán’s Universal Garden. [online] Available at: https://theplanthunter. com.au/gardens/luis-barragan/.