Architecture to Luis Barragan was deemed as, “a sublime act of poetic imagination.” Barragan’s extensive civil engineering and architectural background as well as peculiar upbringing, construed for him a very eclectic approach to design. This design methodology was directly similar to that of the De Stijl movement being a reduction to the essentials. Regarding the concept of modernism, Barragan incessantly strove to “adapt to the needs of modern living” throughout his work. Casa Luis Barragan is an epitome of modernist architecture due to the inspiration of the De Stijl Movement through its composition and usage of color as a driving force, in aspirations of “dignifying human existence.”
Guadalajara, located in the Western-Pacific region of Mexico was where Barragan was born and experienced culturally rich architecture. Growing up in a prosperous family who owned a construction company, Barragan later took over the family business and designed buildings. At the time, though there was a classical academy based on the remarkable École des Beaux-Arts, Barragan decided not to study there and obtain a classical form of training. Rather, Barragan opted to go to the Escuela Libre de Ingenieros. Because of the institution he attended it furthermore signified his humble approach and admiration towards the noble profession, given that he taught himself an abundant amount of architectural skills. Leading to him ultimately receiving a civil engineering degree during his early twenties, setting the perfect outlet to delve into the architecture realm.
Upon finishing his studies, Barragan traveled to Europe and witnessed multiple expositions and buildings. Some of which consisted of the Paris Exposition for Decorative Arts alongside work by Le Corbusier and landscape designer Ferdinand Bac. During his travel while forming relationships with several architects and artists along the way, Barragan became deeply inspired by the modernist De Stijl movement as it was in its apex. Highly stimulated by his new European surroundings Barragan adapted this methodology of designing and made it his own. This movement translated from Dutch known as “the style” originated during the mid-1910’s which called forth a Utopian idea of intertwining harmony and order. Thus cultivating simplicity and abstraction as its ultimate expression as exemplified in the movement. Due to the extensive mathematical logic behind the uniformity of Casa Luis Barragan and his work as a whole is described as a “utopian vision of unification.” Such harmonious relationship amongst the components was established through a reduction of elements to an abstract particular aesthetic focused on visual elements such as form and color. Whilst De Stijl’s purpose was defined by the reducing back to its primary elements, architecture in its essence still strove towards designing an ultimate spatial experience. Barragan, as a second generation modernist did not completely turn away from history rather his intent, was to recognize classical principles of architecture as a basis towards designing. Ideal space according to Barragan must include “elements of magic, serenity, sorcery, and mystery.” In 1947 Casa Luis Barragan’s personal house and workshop was built, its facade rather than having intricate details throughout was alternately bleak and went close to being humbly unnoticed. What sets this building apart is an immense library window and contrasting scale to that of the neighborhood. Compositionally speaking, the two level-home included a meticulously articulated grand double-height living-room space where the low walls do not touch the ceiling. Unobstructedly allowing perspectival lines to quickly dissipate over the living area in view of the hovering horizontal plane that is the ceiling. The robust exterior walls act as a vessel for the irregularly abstract roof terrace demonstrating a finesse that Barragan illustrated relating to the control of planes. The space of Casa Luis Barragan “flows majestically like liquid silence” as its spaces seemingly merge into each other. An example of this is the entrance hall that similarly functions a traditional entrance space where a pause is evoked by the visitor meanwhile preparing the senses. The usage of sight, smell, touch, and hearing within architecture is defined as “emotional architecture” attributable to the feelings that would arise going about experiencing the building. Barragan believed that was a method to go about designing that transforms to the needs of modern living, by having a complete sensory experience. Considering the Mediterranean rooted inspiration Barragan had obtained in Europe, the materials of his home were seemingly untouched and lay in their near-natural state, leaving behind crude plastered walls and volcanic rock tiles amongst plush carpets and polished wooden floors. The simplicity of the material selection gives a greater feel to the spaces, allowing for a truly seamless boundary between the spaces as a wall becomes monolithic and frigid where one feels enraptured yet comforted by the warmth of the textiles.
Barragan has called himself a landscape architect, ever since being awoken by French Landscape Designer Ferdinand Bac to the underlying splendor of gardens. He came to the realization that architecture should not only pertain to the building but rather the space that it’s surrounded by to create a more impactful one. Color goes much deeper than the superficial in Casa Luis Barragan as well as in his complete work. Barragan stated that colors are a “complement” with respect to architecture. He thought that with the use of immersive architecture proceeding from color has the capability of invigorating modern living. Moreover, color can be used to expand or confine a space, but most importantly is beneficial when “adding that touch of magic to an area.” Aside from having the reach to entirely dematerialize the attributes of its existing volumes, colors are additionally able to almost defy the laws of physics occupying volume and weight. A prime example of this can be seen on the terrace with roughly plastered white walls that rise above the roof level. These walls were initially an abstract composition of anonymous white planes meant to be unexpected. Alas in the years that were to come, two walls were painted one painted red, and another an earthy brown just as Barragan ordered. Though due to the harsh rays of the sun the walls must be repainted. Aside from primary colors being a significant trait to the De Stijl movement it also relates to the simplest element that’s the derivative of primordial living, nature. Given that colors originate from the living environment, while a flower releases a red color, the sky emits blue as does the Earth radiates yellow. Upon these primary colors lay a secondary one, a vibrant green that is a staple to Barragan’s gardens building a strong everlasting contrast, moreover allowing the architecture to become an extension of nature itself.
As Barragan courageously stated, “human life deprived of beauty is not worthy of being called so,” from that impactful quote we can infer he believed that beauty in relation to architecture was indispensable in dignifying human existence whilst adapting to the needs of modern living. Casa Luis Barragan is an exemplary work of modernist architecture through the looking glass of the De Stijl Movement utilizing its key elements composition and color to achieve utmost beauty. Barragan’s civil engineering degree lead to his admiration of architecture and ultimately landscape architecture creating an eclectic approach to design. UNESCO deemed it a World Heritage Cite and described its representation as a “masterpiece of the new developments in the Modern Movement, integrating traditional, philosophical and artistic currents into a new synthesis” furthermore solidifying the outstanding significance that Luis Barragan had on modernism.