Learning from Luis Barragan
Luis Barragan, an architect born in Mexico and recipient of the Pritzker Prize, profoundly influenced the world through his distinctive application of light, shade, shadow, structure, material, and his tactile approach to designing intensely evocative architecture. Luis Barragán spearheaded a collective of Mexican architects who drew inspiration from European functionalist design, endeavoring to amalgamate modernism with indigenous architecture to evoke a sense of place. Barragán is primarily acknowledged for a concise collection of post-World War II edifices and landscapes that integrate contemporary materials and minimalist cubic forms with nuanced ties to indigenous traditions, private reflection, poetic abstraction, and Mexican and Mediterranean folk styles.
In late April 1966, Louis Kahn visited Luis Barragán at his apartment in Mexico City after a brief but captivating meeting at the Salk Institute. Kahn admired Barragán’s measured and discerning use of language and would have concurred with the Pritzker Jury’s 1980 citation had he lived longer.
“Silence. In the gardens and homes designed by me, I have always endeavoured to allow for the interior placid murmur of silence, and in my fountains, silence sings.”
The harmony of his designs with bold colors is achieved by incorporating wall thickness, scale, light, shadow, form, texture, and spaces that were constructed with bold colors. Each structure invites observers to forge a deep connection with the environment, showcasing Barragán’s architectural expertise.
In 1944, Barragan acquired El Cabrio land, which was situated on the periphery of the El Pedregal subdivision. His objective to acquire an EI Cabrio was to establish a sequence of enclosed garden spaces in which he could periodically retreat to contemplate and appreciate nature. Barragan employed the terrain and large evergreen trees to establish gardens, incorporating river water to create cascades and ponds. His iconography in these gardens bears a striking resemblance to that of Surrealist painters and filmmakers, in contrast to his other work.
A sculptural masterpiece (Torres de Satellite, Monument in Naucalpan, Mexico) was produced working together with sculptor Mathias Goeritz and painter Jesus Rayes Ferreira. It was intended to symbolize the auspicious future of the newly developed Ciudad Satellite area. Five isosceles pyramids were coated in the primary hues of red, blue, and yellow, positioned along a central avenue, alongside two neutral white icons. The timber frames employed in construction conferred a coarse texture to the concrete, yielding a structure that harmonized art and architecture. The Torres de Satellite consist of five vertical prisms featuring triangular cross-sections, arranged within a large triangle in a traffic circle. The shortest tower measures 30 meters in height, while the tallest reaches 52 meters, creating a striking skyline silhouette. The hollow reinforced concrete towers function as colossal sculptures devoid of interiors or roofs. This material guarantees durability and structural strength, rendering the prisms enduring landmarks. Single-phase concrete casting yielded bare, unembellished surfaces that highlight the geometric purity of the forms. Barragán adeptly synthesized the severe geometry of Le Corbusier, the emotive elements of Bac, and the vibrant hues of Orozco. His art employed raw materials and natural elements juxtaposed with clean lines and striking geometric forms, with the vibrant colors of his homeland accentuating each of these components.
Barragan, an engineer by background, was a self-taught architect who acquired his knowledge through practical experience and the influence of artist acquaintances and architectural authors. A significant local influence was Jesus “Chucho” Reyes, a “naive” primitive painter whose philosophy of life and art Barragan had internalized. For Barragán, color served as an enhancement to architecture. Barragan stated that he utilized color, but he was not actively analyzing it during the design process. He would subsequently frequent the location repeatedly, at various times throughout the day, and they would start to ‘envision the color,’ to conceive colors, ranging from the most fantastical to the extraordinary, and return to art books, particularly the works of surrealists such as De Chirico, Balthus, Magritte, Delavaux, and Chucho Reyes. After reviewing the pages, he would envision the photos and paintings, subsequently identifying a hue he had envisioned, and then select it.
Luis Barragan endeavored to communicate his enthusiasm for traditional designs and to create the impression that the client is in a residence in Mexico through his design. From the outset, his objective was to create “modern works” that were implemented in harmony with the context, strategy, and building components. Instead of persistently assessing photographs and restricted architectural drawings, it is beneficial for design and architecture students to explore one of Barragán’s projects by interpreting and integrating his design ethos and sensitivity through empathy. This is an exceptional experience that enables students to conclude their learning via scientific study.
