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Casa Barrágan

Casa Luis Barragán is a landmark work of architecture built in 1948 that represents one of the most influential works of modern architecture. It uses flat planes, skylights, and windows to allow natural light to track throughout the home throughout the day. Barragán emphasized the exterior and landscaping as much as the interior spaces. The home is now a museum that preserves Barragán's residence and studio as it was when he lived there until his death in 1988.

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Radhika Ghodasara
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64 views16 pages

Casa Barrágan

Casa Luis Barragán is a landmark work of architecture built in 1948 that represents one of the most influential works of modern architecture. It uses flat planes, skylights, and windows to allow natural light to track throughout the home throughout the day. Barragán emphasized the exterior and landscaping as much as the interior spaces. The home is now a museum that preserves Barragán's residence and studio as it was when he lived there until his death in 1988.

Uploaded by

Radhika Ghodasara
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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CASA BARRÁGAN

BY:- LUIS BARRAGÁN

033 NEVIL KATHIRIYA


072 JEET SOLANKI
ABOUT CASA LUIS BARRÁGAN Casa Luis Barragán, built in 1948, represents one of the most
internationally transcendent works of contemporary architecture

As acknowledged by the UNESCO when included in their 2004


World Heritage list. It is the only individual property in Latin America
to have achieved such a distinct honor

Luis Barragán’s influence in global architecture is still in constant


growth and his house, faithfully kept just the way it was when
inhabited by its author until his death in 1988, is one of the most
visited sites in Mexico City by architects and art connoisseurs from
around the world.

This museum, which encloses its creator’s residency and studio, is


property of the Government of the State of Jalisco and the
Fundación de Arquitectura Tapatía Luis Barragán.
INTRODUCTION
The most prominent aspects of the design of Casa Barragan
are the use of flat planes and light, both natural and artificial.

The skylights and windows allow for visual tracking of light


throughout the day

the floods of natural light and views of nature are the key
purposes of the windows. Opening up into the garden, the
back of the house creates a visible and physical relationship
between the lower level and the backyard.

Barragan often called himself a landscape architect because


he placed as much emphasis on the exterior and
surroundings of a building as he did on the interior.
The passage towards the living room-library is articulated with
GROUND FLOOR the resources that remain constant in other passageways. An
accent of scale, similar to a contraction with its corresponding
shadow, never frontal or direct, but propelled by the
discontinuous flow of motion stops in the room with a new
burst of space, air and light.

The living room is the first space contained in the great


double height of this room, which also houses the library; its
great spatial flow is subdivided into enclosures conformed by
the introduction of medium-height wall planes.
WORKSPACE
The main workroom is found at the end of the vestibule through a
sluice gate, which also communicates with the house. This sluice
gate forms an independent volume inside the workroom that
includes the chimney.

An outstanding feature of Workroom is the slanted wood ceiling. An


eastern side window in which visual contact with the street has
been substituted by a series of ascending white planes illuminates
the great volume of air.

These planes draw the view of the neighboring treetops into the
space, which now belong to the window, not to the rooftops and
antennas
GARDEN
According to photographic documents and descriptions made by
the architect himself, the garden originally contained larger lawn
extensions. There was a broad clearing in front of the living room.
Overall, the garden had a more domesticated character.

Luis Barragán’s decision to allow the garden to grow more freely


resulted in the garden’s current personality, an opulent, almost wild
garden that evokes ancient orchards where vegetation has a life of
its own.

Although relatively limited in its physical dimensions, the visual


appropriation the garden makes of the neighboring vegetation, the
Ortega house and garden, produces a deep and dense
perspective.
DINING AREA The different dimension of the dining room window transforms the
view of the garden into a more abstract picture. From the
perspective of someone sitting at one of the table’s seven seats, it
succeeds in detaching the vegetation from the ground and adding
yet another color to the spatial composition.

The breakfast room window elevates once again and loses its
frank, frontal position. The garden, then, is seen as a drifting
perspective in probably the most intimate space of the entire
house, where the gaze must be preserved between its walls.

In the large, well-lit kitchen, the garden can only be seen when the
door is open. The transparent glass here denotes a very different
hierarchy of windows from the ones previously described
FIRST FLOOR /
The guest bedroom facing the street is a later addition to the first
project; originally, a terrace existed in that space. This room and the
two bedrooms on the second level share a monastic spirit, not only

GUEST ROOM in the economy of resources with which they are composed, but
also in the selection of furniture and the textures of the rugs and
bedspreads

The intimacy and scale of the mezzanine are contained inside the
great space of the living room-library with a wall that lets the view
follow the rhythm of the ceiling beams

the window is now a play of white shutters and a careful study of


proportions that allows the sky to come in while hiding the street
and printing a negative of the living room window against the wall.
MASTER BEDROOM
The view to the garden on the second floor is reserved for the
architect’s bedroom and the afternoon room — “the white room”, as
it was colloquially known to its resident.

The entrance to these rooms is made through a new spatial valve,


a yellow one, which concentrates the morning light that comes from
the hall and takes it inside both rooms. Sacred art and equestrian
motifs are not missing in any of these two spaces.

In the master bedroom, next to a painting of the Annunciation, there


is a small object, which often disturbs the visitors: a cardboard
screen, no more than 30 centimeters high, covered with pictures of
a Black female model, cut out of a fashion magazine.
DRESSING ROOM
This place shares with the vestibule the same fluid and complex
spatiality.

It is the invitation to discover the terrace through a vertical crevice,


a yellow light solid where three wooden steps slightly peer, and
whose dimensions suggest a contemplative and solitary ascent.
TERRACE
The terrace is also an abstract composition of naked faces that
works as a chromatic laboratory whose architectural function is at
once evocative and unexpected.

At the terrace, the conclusion is more disquieting than cathartic.


The very noun, “terrace”, designated pragmatically in plans and
descriptions, is contradicted by its dwelling experience.

To leave the terrace one must search for the door behind the gray
tower, if the existence of the door in our memory prevails over
perception.
GROUND FLOOR
PLAN
FIRST FLOOR PLAN
SECOND FLOOR
PLAN
ELEVATIONS
SECTIONS

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