Polytechnic University of Catalonia .

Department of Architectural Projects Official Master's in Theory and

Practice of the Architecture Project

THREE HOUSES OF LUIS BARRAGÁN

Mariana Moreira Teixeira

Tutor: Prof. Antonio Armesto Aira Intensification

3: Project and Analysis

Barcelona. June. 2008

 INDEX

I. Initial considerations ................................................ .......................................... 3

II. Contextualization ................................................. .................................................. .... 4

III. Study objects

González Luna House ............................................... .................................................. . 6

House for Two Families .............................................. ............................................. 14

Gilardi House ................................................ .................................................. ........... 17

IV. Analysis ................................................. .................................................. .................. twenty-one

V. Conclusion ................................................. .................................................. ............ 31

SAW. Bibliography ................................................. .................................................. ............ 32

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 I. INITIAL CONSIDERATIONS

The houses predominate in the architectural legacy of the Mexican Luis Barragán. Concepts such as serenity, silence,

intimacy and wonder prevail in these projects, which he considered to play a fundamental role in human housing, and as he

stated one, they have never ceased to be the beacon of their searches.

Starting from the convention that his work is divided, as Carlos Martí affirms 2, in three different stages and with the

interest in studying the typology that predominates in the

In Barragán's production, I have chosen three houses as the object of study for this work, each one representing one of the

moments of the architect's career.

The first, the Casa González Luna (1929), belongs to the group of houses of Arab and Andalusian influence that he built

during his early stage in Guadalajara; The second is the house he plans for two families on Parque de México Avenue

(Mexico City, 1936-

37) in which it adopts the language of international rationalism; and finally, the last work that he managed to complete in its

entirety, the Casa Gilardi (Mexico City, 1975-77), where his architectural experience reaches maximum tension.

The objective is, through the analysis of these works, to make a parallel between the three stages, identifying the

architectural features that have remained through time and the stylistic change in the architecture of Barragán.

one "Luis Barragán's speech at the Presentation of the Pritzker Architecture Prize 1980". In Saito, Yutaka. Luis Barragan. Mexico, Noriega

Editores, 1994, p. 10.

2 ARÍS, Carlos Martí. "LUIS BARRAGÁN: Spaces for waiting". In 4 centenarians: Luis Barragán, Marcel Breuer, Ärne Jacobsen, José

Luis Sert. Luis Barragan. Valladolid: University of Valladolid, Secretariat for Publications and Editorial Exchange, DL (2002), p.51.

3
 II. CONTEXTUALIZATION

Luis Barragán (1902-1988) is one of the most outstanding architects of Mexican architecture. Born in Guadalajara (Jalisco),

he spent a large part of his childhood and adolescence at his family's ranch, located in the vicinity of Mazamitla, a region

recognized for its beautiful vernacular architecture.

Although he graduated in engineering in 1923, he discovered his close affinity for architecture that earned him a Pritzker
Prize in 1980. Later he recognized that the lack of studies in architecture could have been a positive point, since the absence
of academic technique allowed him to reach instinctive solutions to design problems. 3

The first stage of his work, between 1927 and 1935, takes place in his hometown. The houses he builds in that period mark

the beginning of his career and are characterized by a mixture of the repertoire of colonial, popular and rural architecture of

that region with elements of Mediterranean architecture, which he approached on the first trip he undertook. to Europe in

1924 Four.

The start of the second stage coincides with his transfer to Mexico City in 1936, after having made a second trip to Europe

and North Africa, in 1931, which gave him the opportunity to personally meet Le Corbusier and Ferdinando Bac. Inspired by

the proposals of the International Style that spread in the old continent, Barragán adopted in small commissions and projects,

which he promoted and built in this period (1936-

1940) a new dynamism in the treatment of its architectural elements.

However, Barragán himself later acknowledges that the premises of the modern movement are not entirely suited to his

interests, and criticizes the excesses of this phase of its production when he states:

3 SIZA Vieira, A., TOCA FERNÁNDEZ, A. et al., Barragan: complete work, Tanais Ediciones, SA, Seville, 1995.
4 On this walking trip that lasted for two years, Barragán meets a new repertoire in architecture that was essential in his training as an
architect. He showed great interest in Andalusian architecture, aroused his sensitivity for spaces with an Arab tradition and
Mediterranean gardens. I'm going through
France, Spain, Italy and Greece. In Paris visited the L'Exposition Internationale des Arts Décoratifs et Industriels Modernes from 1925, and
learned about the work of Le Corbusier in the pavilion of the Esprit Nouveau and the writings of Ferdinand Bac, who would become a great
influence on his work.

4
 “Any architectural work that is not capable of expressing serenity is precisely a mistake. So it
is a mistake to replace the protection of the walls with the uncontained use of huge windows,
which prevails today…. ” 5

From 1940 the architect begins to value and define what can be considered his own style of making architecture, starting his

mature production. This stage encompasses his most widespread works and is characterized by a reconciliation of the

various aspects of his formative years, nourished by concepts of architecture from various parts of the world.

The meeting with the Mexican painter Chucho Reyes, with whom Barragán establishes a close friendship and becomes his

most trusted aesthetic advisor, was essential for the development of this stage. It is not until the exchange of artistic synthesis

between them that the architect understands architecture as a painting. 6 The planes are decomposed in space creating an

artistic composition of colors, as can be seen later in the Gilardi house.

Today Barragán's work is disseminated throughout the world, but he achieved this international recognition late in 1976,

already at the end of his career, when the Museum of Modern Art of Nueva Yorque dedicated the first exhibition of his work to

him.

5 "1976, Posted by The MOMA NY". In RIGGEN MARTÍNEZ, Antonio. Writings and Conversations. Madrid: El Croquis, DL, 2000, p. 103

6 Biography of Luis Barragán. [ Online]. Mexico City: Architecture Department of the Universidad Iberoamericana. Available at:

http://www.arqdis.uia.mx/arquitectura/dac/d4/o05/Paginas/info.htm

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 III. STUDY OBJECTS

CASA GONZÁLEZ LUNA (1929)

1. González González House Plants (with the intervention of the architect Díaz Morales)

In 1929 Barragán was commissioned to design the house that would become one of the most significant in the first phase of

his career, the residence of Efraín González Luna, an illustrated and influential figure in Guadalajara.

Located in an area of ​the city that at the time was the preferred one of the local bourgeoisie, the ample land, of approximately

1750m 2, it is situated between two neighboring plots on its east and west sides; and the narrower portions, north and south,

open to parallel streets, Avenida del Bosque and Calle Sur respectively.

6
2. González González House Plants (original project by Luis Barragán)

Barragán's original project underwent some modifications in the late thirties when González Luna asked Ignacio Díaz Morales

to expand the south wing of the house. The intervention resulted in the addition of a block with three bedrooms and a

bathroom on the ground floor, and an annex to the library on the upper floor.

The body of the house moves away from the lateral currencies in its frontal portion giving way, to the west, to the path of the

car to the garage, and to the east to a garden; to later grow sideways, configuring the service area and the wing added by

Díaz Morales. The main body is completed at the rear by the volume of the porch and by the service patio, establishing

between them an enclosure of square proportions.

7
3. North facade - Main entrance 4. South Facade

Characterized by the generosity of the spaces, which it shares with the large green areas of the land, the house is distributed

on two floors: on the first, elementary functions of a house are developed and on the upper floor is the González Luna library

and the oratory that are embraced by a huge terrace that corresponds to the cover of the ground floor in almost its entirety.

Favored by the situation of the plot, Barragán creates two different accesses. The main one on the north façade, where

pedestrians and vehicles share the same opening located on the far right side of the lattice; and the secondary one on the

south side, which is made through a small door in the wall. In both, the building moves away from the alignment, having a

garden as a filter between it and the street, and they are characterized by a sequence of spaces that precede the entrance to

the house.

In the main façade, the division of the pedestrian and vehicle path is marked by the stair tower that stands out in the

volumetry. While the vehicle continues directly to the garage located at the back, under the service area, pedestrians turn left,

led by a path to the entrance to the house, which provides gradual access from the street.

Following the front garden, the paved space, with well defined limits by the steps that raise it from the street level, forms a

platform that acts as a filter between the public area of ​the garden and the private area of ​the porch. The fountain contained

in a pond of square proportions completes the connection between platform and porch, belonging to both spaces at the same

time. The porch, is advanced in relation to the rest of the

8
building, and shelters the visitor working as a preparation space for the entrance to the house.

In the secondary access, the porch, located at a high level in relation to the entrance, assumes the role of a receiver for those

who arrive, and at the same time, configures a space for contemplating the rear garden. It also serves as a connection point

between the exterior of the house and the patio, which, in turn, configures a fragment of the exterior belonging to the interior

and acts as a distributor, allowing access to the social area, or to the service area it has. its independent access.

5. Porch and fountain on the north façade 6. Main entrance door

7. Access to the south front porch

8. Later source. In the background entrance door to the house from the patio

9. Porch and patio viewed from the top of the service patio stair

9
10. Patio and front door to the house 11. View of the back garden from the porch

12. View from the main entrance to the door leading to the patio

13. From the lobby you can see the living room and the end of the corridor

14. Corridor illuminated by the skylight on the roof

The body of the house is marked by a powerful longitudinal axis that organizes the distribution of the spaces. Driven from the

main entrance door, the axis crosses the room, continues through the long and wide distribution corridor and exits through

the secondary entrance door, crossing the patio and the porch until it dissipates in the later fountain.

Beside this, the bedrooms are distributed successively, which have views of the garden and are connected to each other

through interior doors, allowing flexible use of these spaces; and to the west are the dining room, kitchen, and the rooms that

go out to the service patio located at the back. The connecting staircase between the two levels is placed at the vertex of the

floor, internally distant from the other rooms of the house, increasing the reserved character of González Luna's space. An

exterior stairway juxtaposed to the tower on the main façade provides independent access for visitors.

10
The block added by Díaz Morales generates a secondary and transverse axis. The new distribution corridor has the same

proportions as the pre-existing one and together they form the shape of an “L”. However, care is taken in maintaining the

initial composition avoiding the interruption of the continuity of the axis created by Barragán, when, when adding the lateral

extension of the corridor, it does not open it completely but provides access through a door such as from the other

environments, preventing the passage to the new block from diverting the patio-living room path induced by the original axis.

The corridor on the ground floor is reflected on the upper floor through the pergola, marking the longitudinal axis on that level.

This element is understood as an articulator between the outside of the terrace and the inside of the library. On this floor,

Díaz Morales' intervention was more daring since the side block added to the library annulled the transparency of the pergola,

which originally allowed a wide view of all sides of the land.

15 and 16. Upper floor terrace. Pergola and access to the library

The plant is marked by small setbacks that coincide with the variation in height of the house in each area, generating a

volume of staggered blocks loose from each other. The stair tower is the highest volume and corresponds to the vertical axis

of the set. The floor plan of the exterior wall of the living room and its opposite on the east side correspond, respectively, to

the volume of the library and the lowest volume of the building, consisting of the bathroom and the closet, which has a lower

height. to allow the creation of tall windows in the living room. The service area is raised to allow the establishment of the

garage.

eleven
17 and 18. Slope on the terrace to allow the creation of high windows in the living room

19 and 20. The play with the height of the volumes can be seen on the north and south facades

21. West facade sectioning the garage that is under the service area

22. Longitudinal section cutting through the stair tower, living room, dining room and service area

12
The solid load-bearing walls are cut out by windows of various formats, conceiving different ways of letting light enter each

environment. Light coming from the sky penetrates the tower of the stairs through the high window and the features on the

west wall; and in the corridor, it comes from the skylight in the ceiling. The tall windows in the living room have no view, they

only serve to illuminate. The massive front door blocks any contact with the outside world, while the door leading to the patio

has translucent stripes that allow light to enter, hinting at what you will find when you cross it.

23. Living room. Main access and access staircase to the library

24. Staircase seen from inside the library

25. Library

26. Library 27. Bedroom

In this composition, in which orthogonal lines predominate, the curves are exhibited in small elements: balustrade, window

arches and porches. As well as the use of colors that is restricted to details: the large neutral surfaces of the walls prevail,

which at one time or another is interspersed with the roof tile, natural wood and the finishes of the walls and railings.

13
HOUSE FOR TWO FAMILIES (1936-37)

28. House Plants for Two Families

14
In this work, two houses share a plot of reduced dimensions between three party walls, in the Hipódromo de la Condesa

neighborhood, in the Mexican capital.

Measuring approximately 10.30 meters wide and 18.75 meters deep, the plot is divided longitudinally in half for the

implementation of the houses. With 5.15 meters of façade that faces west to the Parque México, each one is developed in a

single narrow and elongated block, which has the rear part removed from the limits of the site, configuring an enclosure

delimited by the party walls. and the building.

The two houses have a similar program and spatial arrangement, in symmetry, allowing kitchens and bathrooms to be located

on the same side, concentrating facilities and the ventilation patio. In the façade, the aforementioned is reflected in the position

of the doors that are far apart, creating a more reserved access to each home.

The house is developed on four levels and contains the garage and

the service units on the ground floor; the day area, consisting of the

dining room and living room, on the first floor; and two bedrooms on

the second floor; Topped off by the deck terrace.

Crossing the entrance door, the circulation is direct up to the

staircase, and it runs tangent to the garage, which is differentiated by

a drop in the ground. Deviating laterally to the staircase that leads to

the other floors, you access the service units that communicate in the

background with the patio that acts as a complement to this area,

ruling out any social character in this space.

29. Main facade

On the top floor, the front terrace is incorporated into the house as a meeting and contemplation space, assuming the

function denied by the ground floor patio; while the rear terrace is dedicated to service activities. In this way this area is

separated, and for this reason the existence of a helical staircase that connects the two parts in an independent circulation of

the main staircase is explained.

On the façade, the ground floor follows the slope of the land boundary and the differentiation of the entrance at this level

denounces the existence of two houses. However, at the levels

fifteen
Superior, the two houses merge into a single unit that flies towards the street, making the most of the construction surface,

while providing movement to the complex and creating a protective space for the entrances.

The façade is made up of large glazed surfaces that reduce the private character of the rooms and the control of light that

Barragán once valued. Windows that span the entire width of the living rooms, completed, in the house on the left, by a cutout

that generates a corner window, and floor-to-ceiling windows in the bedrooms, establish a visual relationship between the

interior and the nearby park.

On one side, the terrace is topped by a railing, on the other, its limits grow as if they were going to configure a patio, but it is

cut out with a corner opening creating a molding in view of the park.

The handling of elements such as corner windows, the terrace and its relationship with the exterior, together with the concrete

structure, clean lines, and the maximum use of light through large windows, demonstrate the influence that Le Corbusier

exerted on Barragán in this project limited by its real estate nature.

30 and 31. View from inside the living room of each of the houses

32. The terraces and the ventilation patio seen from the top of the stairs

33. The opening in the wall of the terrace that frames the view of the park

16
CASA GILARDI (1975-77)

34. Gilardi House Plants

At the end of the 70s, Barragán was requested by Francisco Gilardi, to carry out the project of his house that would be built in

Mexico City. After seven years of inactivity, Barragán accepted the assignment, attracted by two constraints of the project: the

huge Jacaranda tree that should be kept on the site, and the pool requested by the owner as part of the program.

Implanted in a narrow and elongated solar, of approximately 10x36 meters, between three dividing walls and just one side

open to the street, the house is divided into two blocks, front and rear, which occupy the entire width of the site and connect

17
laterally by a long corridor, configuring between them the square enclosure that houses the pre-existing tree.

The front block made up of the pink volume facing the street is distributed over three floors: the entrance, garage and service

areas are located on the first floor; in the second the living room and a bedroom; and, in the third, two bedrooms. The body of

the kitchen is attached to its back, which on one side connects to the corridor, and on the other it forms one of the limits of the

service patio, to which the premises of this area are poured. The rear block, on one level, configures the pool area and

assumes the function of a dining room.

35 and 36. The wall of the ground floor is placed behind the other floors, and the dark color used there produces the effect that

the pink volume is suspended in the air.

The organization of the spaces on the ground floor is discovered little by little through a route that starts from the access, runs

through the entrance hall attracted by the light coming from the skylight at the top of the staircase; crosses the entrance hall

to the upper floors; and enters through the door raised by two steps. As you proceed you discover the corridor, invaded by a

sequence of yellow lights coming from the vertical openings in the wall that overlooks the patio; to finally expand into the pool

room. This one, has its back wall in blue contrasting with the red of the column, and it is bathed by the light of an opening in

the ceiling, representing the search for the sky in this space. Crossing the dining room, the only access to the enclosure is

placed,

18
37, 38 and 39. In this sequence of photos you can accompany the route from the entrance door to the access door to the corridor

under the staircase.

40 and 41. Crossing the door, which represents a strangulation on the way, you reach the connecting corridor between the two blocks into which

the house is divided.

42 and 43. From the pool room, which also configures the dining room, the large glass door opens to the central enclosure,

which was not previously revealed at any point along the way.

19
The load-bearing walls are cut in the main facade by moderate openings to the street. A subtraction on the second floor

generates a terrace limited by high walls that protects the environments that are located there from the street. The living room

and bedroom on the first floor open onto this space, preventing them from looking directly outside, thus providing some

privacy and enjoying the view of the sky.

With few references from the outside world, the house exhibits attractive features to be enjoyed by the home, affirming its

introspective character. The rooms look out onto the interior enclosure through large glazed surfaces.

44. Large sliding door to the patio from the dining room

45. The living room window that configures a screen to look at the patio

46. ​The discreet bedroom window located on the main facade, which only allows light to enter

The corridor and kitchen decks are joined on a terrace, accessed from the stair hall on the first floor, and connected via four

steps to the deck terrace on the rear block; they form an extension adjacent to the central enclosure space, although on

another level and without direct access between them. The tree has its reserved space, but does not act as the protagonist,

but is a complement to the set that finds its stage in the emptiness of the site.

47. "Rooster". Jesus "Chucho" Reyes Ferreira painting

48 and 49. These photos demonstrate Barragán's affinity for Chucho Reyes, who is inspired by his friend's painting to choose the

colors used in this house.

twenty
 IV. ANALYSIS

Each one of the orders studied represents very particular conditions that are distinguished from each other, in addition to the

time of construction, by the dimensions and characteristics of the plot, by the views and the relationship with the environment;

as well as the requirements of the program and the conditions of the project. Even so, it was possible to identify common

themes in these three examples, which are expressed differently in each of the cases.

The introspective character 7 of the works of the first and third stages it is reflected on the main facade, due to the absence of

large openings to the street. These two houses look out, respectively, to the sides and to the patio inside the plot, thus taking

advantage of the intimate portions of the plot that do not enjoy direct views of the city, preserving the domestic environment of

direct contact with the outside world .

In the house for Two Families the presence of large glazed surfaces that open onto the street predominates in the elevation,

which can be understood as a solution to the lack of space to play with the management of natural lighting as it does in the

other two houses. However, the environment of the plot is favorable, which allows the environments arranged on this facade

to enjoy views of the park, thus avoiding too much exposure of the interior.

Still in this area, it is interesting to note how Barragán creates meeting and contemplation spaces far from the living room,

preserving the social area of ​the house in the privacy of the home, generating a differentiated relationship with the outside. In

the González Luna house, the connection to the porch and the rear garden is established through the corridor that connects

the entire house; while in the Gilardi house the connection is only visual, since there is no direct access to the patio in that

environment. The incorporation of the roof into the life of the house is also a constant in all three projects. In the González

Luna house the terrace looks out onto the large surrounding gardens and in the Gilardi house it acts as a complement to the

patio space and configures a gazebo for the landscape of the house.

7 The introspection in his works is the result of his concerns about the new needs imposed by modern life. In this area, he considered that
housing plays a fundamental role as a refuge from the hectic life of the city. In his own words: "As an architect I would like to find a
formula for the man to calm down in his house, to recover from the aggressions of the city. This is a problem that imposes me very
deeply. ” In: "Interview with Elena Poniatowska, 1976". RIGGEN MARTÍNEZ, Antonio. Writings and Conversations. Madrid: El Croquis,
DL, 2000, p.122

twenty-one
The terrace, the roof of the house for Two Families, arises as the possibility of recovering on the roof the surface of the plot

occupied by the building.

The exploration of a vertical element that stands out in the main facade is a constant in the three examples studied. In all

three, these elements share the same width, approximately 5 meters, but they are distinguished in the proportion relationship

they play with the entire façade, and in the way in which each one is established. In the González Luna house the vertical

element coincides with the stair tower; in the house for Two Families, the wall that delimits the right terrace assumes that role

when it grows in relation to the railing of the adjacent house. Finally, in the Gilardi house, this element is the result of a

subtraction operation on the front volume, highlighting the body that inhabits the entrance door.

Main facades (same scale)

22
 ANALYTICAL SCHEME CASA GONZÁLEZ LUNA

This scheme indicates the itinerary that starts from the two entrances articulating the two extremities to the core of the house, the living room.

2. 3
 ANALYTICAL SCHEME HOUSE FOR TWO FAMILIES

In the house for Two Families the itinerary is vertical and takes place in the core of the staircase located in the center of the floor next to the

pieces that can be illuminated and ventilated through the small patio of light.

24
 ANALYTICAL SCHEME CASA GILARDI

The patio is the end point of the route that connects the two blocks of the building, separated by the void.

25
The González Luna house unfolds into a body that invades the depth of the land. This body is divided into classrooms,

established by the solid load-bearing walls that structure the construction. The main classroom, which acts as the heart of the

house, is the living room, which is reached directly from the two entrances, through an itinerary that is confused with the

longitudinal axis, and that connects the two ends of the project. .

From this space you can perceive the labyrinth of patios and porches that are arranged at the extremities as a way of

defending this intimate nucleus from external interferences; providing, on the one hand, gradual access to the building; and,

on the other, a contemplation space for the back garden.

In this way, the structure of this house is summarized in: classrooms preceded by porticos and patios, as a result of a dilation

between two sides of the house produced by the corridor, which acts as the backbone of the project.

50 and 51. The itinerary contemplated from both sides of the house

In the Gilardi house, this expansion is equivalent to the emptiness of the patio, which assumes the role that the corridor plays

in the González Luna house, once it breaks the building down into two parts. These, in turn, are connected by a route that

leads from the entrance and invades the site longitudinally until its culmination in the courtyard; central point and nucleus of

the project where the house recognizes itself, and breathes in its own landscape.

26
52 and 53. Two bodies separated by the patio and connected by an itinerary. The house conceived to be appreciated from the inside

Thus, the set is made up of three elements in which the duality between full and empty is identified, and a relationship of

reciprocity as a consequence of the existence of this space towards which the whole house is poured.

It can be seen then that the existence of an itinerary that leads us to a space conceived as the nucleus of the project is a

constant in this small sample of his work. However, in the house he builds for two families, this tour does not provide the

spatial sequences existing in the other two.

In the itineraries of the González Luna and Gilardi houses, the crossings will always be announced by the change in the

situation of the space, through alternation of dimensions, heights and situations of light; and sometimes increased by a small

difference in level, defining well each stage of the journey.

In the González Luna house, changes in the proportions of the environments predominate. Vestibule, living room and corridor

are developed on the same ground level and alternate between narrow, wide and long; complemented by the light coming

from the high openings and on the ceiling. The unevenness is used as a device to define the two entrances well from the

threshold of the street, at the same time that it compensates the slope of the terrain. In the Gilardi house, the changes in

heights are more characteristic, and added to the use of colors, textures, and proper lighting in each space, they increase the

character of surprise when accessing each environment.

In the House for Two Families, the itinerary and the nucleus come together in one piece: the body of the staircase that

connects the four levels of the house. In this way, the existing route here is the vertical route that coincides with the

circulation that feeds the entire building.

27
The difference in size between the two houses, which can be seen on the ground floor, as a result of making the most of the

construction potential of the site, is pronounced in the central body of the unit being expanded. This extends towards the

bottom, allowing the other rooms to have the same dimension in the two houses, which affirms the idea of ​a nucleus as the

articulator of the project.

Looking at the sections, you can identify the itinerary existing in one of the houses. In the González Luna and Gilardi house, the

sequence marked by the change of situations in the spaces is perceived.

28
In these homes, although in a less expressive way, expansion is produced by the central core of the staircase that organizes

the distribution of the rooms, segregating the house at both ends allowing the rooms to be located on the facades enjoying

the views as well as natural lighting and ventilation.

In the Casa González Luna the corridor is responsible for the expansion between the two ends of the house, while the living room acts

as the nucleus of the itinerary. In the houses for Dos Familias and Gilardi, the same element, body of the staircase and patio

respectively, are responsible for the expansion and nucleus. In this scheme the section of the house for Two Families is placed because

only in this way can all the pieces of the house be seen together.

29
With the realization of this scheme in which the central strips were placed at the same size in the three houses, the same ratio relationship is

observed between the central strip and the building, in the González Luna house and the Two Families house; and between the central strip and

the plot, in the González Luna and Gilardi houses.

In this way, the three studied examples are discovered as different ways of interpreting a central dilation. The consequence is

tripartite structures; in that, morphologically different spaces - corridor, stair core and patio - play the same role in the

configuration of the house.

30
 V. CONCLUSION

The work of the Mexican architect Luis Barragán can be defined as a mixture of the baggage assimilated by the experiences

lived throughout his career. He did not commit himself to the stylistic and constructive currents prevailing at the time, but he

did not deny them either, knowing how to take advantage of the elements that seemed valid to him in his tireless search for

his own architectural vocabulary, which would fulfill what he interpreted as the essence of architecture .

At one point perhaps - I am referring here to the second stage of his work - commercial value has leapt over architectural

value 8, This does not mean that these projects do not enjoy spatial quality, but the limitations imposed on them did not allow it

to express so strongly the relationships that appear in the projects of the first and third stages, as I was able to verify in this

analysis exercise.

Although the closest links are established between the González Luna house and the Gilardi house, I have discovered that

the two are also connected to the House for Two Families in a less conjunctural relationship, where the spatial organization

consisting of autonomous episodes linked by an itinerary and the tripartite order is established with a functional character.

8 At this time the orders that are offered to Barragán are created as real estate opportunities, as he affirms in the text he writes in 1938: “ My
employers don't know anything or care about all that; what they want is architecture that they can sell and give them back their investment
with a lot of business. The great demand for a home guarantees that regardless of the rest (…) ” In: "1938, Reflections on modern
architecture in Mexico, DF and USA." RIGGEN MARTÍNEZ, Antonio. Writings and Conversations. Madrid: El Croquis, DL, 2000,

p.21.

31
 SAW. BIBLIOGRAPHY

BOOKS

4 Centenarians: Luis Barragán, Marcel Breuer, Ärne Jacobsen, José Luis Sert. Luis Barragan.

Valladolid: University of Valladolid, Secretariat for Publications and Editorial Exchange,

DL, 2002.

BUENDÍA JÚLBEZ, José María. Luis Barragan 1902-1988. Mexico, Barragan Foundation / Editorial RM, 2001.

EGGENER, Keith L. Luis Barragán's Gardens of El Pedregal. New York: Princeton Architectural Press, cop, 2001.

Luis Barragan Morfin, 1902-1988: Constructed Work = Works. Seville: Andalusian Government, Ministry of Public Works and
Transport, General Directorate of Architecture and Housing,
nineteen ninety five.

Luis Barragán: Anthological Exhibition. Madrid: General Technical Secretariat, Publications Center, Ministry of Public Works,
Transport and Environment, DL, 1994.

MAISTERRA, Nemesio. Luis Barragan: Work In Guadalajara. Guadalajara, Jal .: ITESM, Technological Institute of Superior
Studies of Monterrey: College of Architects of the State of Jalisco, cop, 2002.

MOLINA Y VEDIA, Juan. Luis Barragan: Paradises = Paradises. Buenos Aires: Kliczkowski,
2001.

NOELLE, Louise. Luis Barragán: Search and Creativity. Mexico: National Autonomous University of Mexico, 2004.

NOELLE, Louise. Luis Barragán: Dilatazione Emotiva Degli Spazi. Torino: Testo & Immagine,
1997.

RIGGEN MARTÍNEZ, Antonio. Writings and Conversations. Madrid: El Croquis, DL, 2000.

RIGGEN MARTÍNEZ, Antonio. Luis Barragan: 1902-1988. Milano: Electa, 1996.

SAITO, Yutaka. Barragan House. Tokyo: TOTO, 2003.

SAITO, Yutaka. Luis Barragan. Mexico, Noriega Editores, 1994.

SIZA Vieira, A., TOCA FERNÁNDEZ, A. et al., Barragán: complete work, Tanais Ediciones,
SA, Seville, 1995.

STREET-PORTER, Tim. Mexican House. New York: Stewart, Tabori & Chang, 1989.

32
VAN DEN BERGH, W., ZWARTS, K. Luis Barragan: The Eye Embodied. Maastricht: Pale Pink, cop, 2006.

ELECTRONIC DOCUMENTS

Biography of Luis Barragán. [ Online]. Mexico City: Architecture Department of the Universidad Iberoamericana. Available
in:
http://www.arqdis.uia.mx/arquitectura/dac/d4/o05/Paginas/info.htm

Barragán Foundation [Online]. Available at: http://www.barragan-foundation.com/

"Gallo", Jesús "Chucho" Reyes Ferreira. [ Online]. United Mexico Foundation. Available at:
http://sepiensa.org.mx/contenidos/2006/l_chucho_reyes/g_3.htm

INDEX OF IMAGES

- Images: 9, 12, 13, 45 and 50. BUENDÍA JÚLBEZ, José María. Luis Barragan 1902-1988. Mexico, Barragan Foundation /
Editorial RM, 2001.

- Images: 32,33 and 34.

EGGENER, Keith L. Luis Barragán's Gardens of El Pedregal. New York: Princeton Architectural Press, cop, 2001.

- Image: 6.
Luis Barragan Morfin, 1902-1988: Constructed Work = Works. Seville: Andalusian Government, Ministry of Public Works
and Transport, General Directorate of Architecture and Housing,
nineteen ninety five.

- Images: 1, 7, 19, 20 and 25. MAISTERRA, Nemesio. Luis Barragan: Work In Guadalajara. Guadalajara, Jal .: ITESM,
Technological Institute of Superior Studies of Monterrey: College of Architects of the State of Jalisco, cop, 2002.

- Image: 40. NOELLE, Louise. Luis Barragán: Search and Creativity. Mexico: National Autonomous University of Mexico,
2004.

- Images: 15 and 30. NOELLE, Louise. Luis Barragán: Dilatazione Emotiva Degli Spazi. Torino: Testo & Immagine, 1997.

- Images: 2, 3, 4, 10, 11, 14, 18, 23 and 31. RIGGEN MARTÍNEZ, Antonio. Luis Barragan: 1902-1988. Milano:
Electa, 1996.

- Images: 35, 36, 37, 38, 39, 42, 43, 46, 48 and 49. SAITO, Yutaka. Barragan
House. Tokyo: TOTO, 2003.

33
- Images: 26, 34 and 51.
SAITO, Yutaka. Luis Barragan. Mexico, Noriega Editores, 1994.

- Images: 5, 16 and 17.

SIZA Vieira, A., TOCA FERNÁNDEZ, A. et al., Barragán: complete work, Tanais Ediciones,
SA, Seville, 1995.

- Image: 8.
STREET-PORTER, Tim. Mexican House. New York: Stewart, Tabori & Chang, 1989.

- Images: 21, 22, 24, 27, 28 and 52. VAN DEN BERGH, W., ZWARTS, K. Luis Barragan: The Eye Embodied. Maastricht:
Pale Pink, cop, 2006.

- Images: 21, 22, 24, 27, 28 and 52. VAN DEN BERGH, W., ZWARTS, K. Luis Barragan: The Eye Embodied. Maastricht:
Pale Pink, cop, 2006.

- Image: 47.

"Gallo", Jesús "Chucho" Reyes Ferreira. [ Online]. United Mexico Foundation. Available at:

http://sepiensa.org.mx/contenidos/2006/l_chucho_reyes/g_3.htm

- Image: 53.

Barragán Foundation [Online]. Available at: http://www.barragan-foundation.com/

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