Barragán House

Barragán House, Mexico City, 1948. View of the roof terrace, following a first stage of transformation. Photo: Armando Salas Portugal

The project documentation in the Barragán Archive includes several original plans and a collection of photographs. Most of these were produced by Armando Salas Portugal, whose iconic images came to represent the house with their portrayal of key features. Over the years, other photographers contributed their own complementary interpretations.

Construction work was likely completed towards the end of summer 1948. Seen from the street, the building presents an intentionally unassuming envelope. The house appears as a compact block divided into two separate functional areas: the kitchen, dining room and breakfast nook are situated on the garden side of the ground floor, with the garage and service areas on the street side; the double-height living room extends across the depth of the house. The first floor contains two bedrooms and a hall between the landing of the main staircase and a further flight of steps leading to the upper terrace.

Barragán House, Mexico City, 1948. View of the studio before transformation. Photo: Armando Salas Portugal

Adjacent to the residence, the plot at 12 Calle Francisco Ramírez was occupied by the architect’s studio. With its own access from the street, the studio constituted an independent, self-contained unit, linked to the private realm of the residence by a door that is discreetly integrated at the intersection of the library and living room. When built in 1948, a floor-to-ceiling glazed opening on the west wall provided a strong visual connection with the outdoors, where a semi-enclosed courtyard gave way to the garden. The paved terrace was set flush with the inside flooring to create a continuous transition between interior and exterior. Over the years, new needs for privacy arose, leading to the separation of the residence and adjoining workspace. The full-height glazed opening was filled in and the entire outdoor area enclosed by walls. Further, minor interventions concerning the internal organization of the areas at the front influenced the redesign of the street facade.

In his Pritzker Prize acceptance speech, Barragán expressed the quintessence of his approach: “It is essential to an architect to know how to see: I mean, to see in such a way that the vision is not overpowered by rational analysis.” His way of working relied on the physical experience of moving through the space. Thus, when a project neared completion, the culminating stage of the creative process took place on-site, where the architect acted as a moderator in the sensorial exchange between idea and construction, while the drawings faded into the background. The Barragán House exemplifies this process. Its timeless universality was best described by Louis I. Kahn in 1970: “His house is not merely a house but house itself. Anyone could feel at home. Its material is traditional, its character eternal.”