BACK TO ROOTS It was early in the 20th century, and Europe was entering a movement called Modernism; with

this revolution, a new era of architecture was born in Mxico, the one that would be recognized across the world. Walter Gropious, director of the Bahaus School, had a lot of influence in Mexico, more in the educational area as in Ciudad Universitaria (University City) where using mainly Gropious projects ideas; they did a detail research of, in conjunct, the student life, both, scholar and after school. The German-American Architect Mies Van Der Rohe, was a big exponent of modern architecture and director of the Bahaus School. His influences, as Vargas express are, among many others, the interrelationship between exterior and interior in the Casa Habitacion as well as the use of large windows (64). One of the pioneers of modern architecture was Charles-Edouard Jeanneret, best known as Le Courbusier, and his influence in Mxico was clearly represented by some of his principles, such as: free faade, continuous windows, and the use of piles. The architect Juan OGorman was the biggest representation of Le Corbusiers principles in Mexico. Also, OGorman was one of the first architects that adopted modernism as his style. Before modern architecture came to Mexico, there was a movement that was making noise across the country and was well known outside of Mexico too, called Muralism or Muralismo. After the Mexican revolution in 1910, an old way of painting was settled, and it gained an important place in Mexican culture, just as it was in the past with their pre-Columbian ancestors. These types of frescos were called Murals, which became the movement known as Muralism. Artists of this movement were part of the local communist party, so murals were the simplest way to tell a story; also they use murals as propaganda, for this reason those were on

public buildings. The most important and recognized muralist was Diego Rivera, and another important exponent of muralism was Juan OGorman who also was Diego Riveras close friend. Juan OGorman was not only a muralist, he was also an architect, one of the most faithful followers of modernism European. The Biblioteca Central of the University of Mexico (UNAM) is proof of use of the Conceptual Analogy of Education by Walter Gropius, but including the Hispanic plasticity: the mosaics (Vargas 65), so with this project and the whole University City that marked a decisive phase in the history of twentieth-century Mexican architecture. Proof of its importance in the world is that University City is considered Cultural Heritage of humanity because its directly and materially related to events, ideas, and works of outstanding universal significance of the culture of Mxico also for being an outstanding example of the consolidation of Modern Architecture in Latin America with architecture reminiscent of pre-Hispanic. Parallel to OGorman, was a young civil engineer who had just arrived from a journey to Europe, by the name of Luis Barragn. At that moment, Barragn would have never imagined how he would revolutionize Mexican architecture. In his speech when he received the Prizker Prize, he said, the words beauty, inspiration, witchcraft, magic, and enchantment, as well as serenity, silence, intimacy, emotion, and awe, (Vargas 9) words that were lost with the arrive of Modernism and Luis Barragn made it alive with his architecture; these were the words that accompanied him along his career. The clash of European modernism and Mexican traditions gave way to a new identity in Mexican architecture; the one that would be internationally recognized thanks to Barragns work. During his first journey to Europe, Barragn met Ferdinand Bac, a German-French writer, designer, and artist who inspired young Barragn with his book Jardins enchants, and

with the garden that Ferdinand created for the exhibition during the Exposition Internationale des Arts Dcoratifs et Industrials Modernes (Zanco 45). Ferdinands work inspired them a special interest for gardens, so when they understood this architecture they applied color, but they also added an important element: bewitch the place, patios, and every corner of the garden until garden and house were attached. Barragn saw a need for new simplicity and to go, literal, to ground as a way of sustaining the habitability of the earth, in another words, landscape in relation to the architecture, so going back to their roots where a patio, which via Spain gives features of religious mystery and magic sensuality, composes Mexican traditional house. Barragn considered garden as an oasis of peace, but also a giant outside room. He started to create a magic atmosphere and as he said to Alejandro Ramirez in an interview in 1962, giving the construction an emotional side, here we are talking about emotional architecture, architecture that is welcome among clients.(El Museo 93) A pattern called half-hidden garden has clearly represented in Barragns architecture; The garden needs a certain degree of privacy, yet also wants some kind of tenuous connection to the street and entrance (Alexander et al. 546). After the dictatorship of Porfirio Daz all what Mexico had, in theme of architecture, was a copy of what France architects did, which; looks like an inferiority complex. Knowing the devaluation of traditional symbols in twentieth-century culture because of that Barragn turned towards minimalist forms, but merging tradition and innovation, thereby one fertilizing the other and vice versa. Barragn, during his interview with Alejandro Ramirez, describes Mxico as an Avant-garde because in that time in the U.S. and Europe architects where more conservatives, I consider Mexico as the most contemporary spirit of the World, he also included, We are doing architecture of our epoch (El Museo 93). For Barragn tradition was an important word

but not everyone knew really the meaning in architecture, it means: doing the architecture of your epoch, according the life of the epoch, and agreeing to the culture of the epoch (El Museo 94). Barragn was modern, but no modernist. Tired of living in a Mexico where architects were busy trying to follow European and New York movements, forgetting everything of their Mexican identities, Barragn and his co-workers from Jalisco decided go back to their essential elements lay in their indigenous architecture, but adding the traditional colors used in preHispanic crafts also combined with Ferdinands ideas. Garden must be poetic, mysterious, bewitched, serene, and happy. An example of it is Barragns house where garden are connected to the living room bye a large window, and also in this house you can see a beauty relationship between tradition and modernism with the wood ceiling, traditional in Hispanic construction and the use of concrete. The revolutionary act is not but the return of an ancient ideal, lost by mens need to add elements constantly to those that were enough in themselves, (Zanco 46) it was exactly what Barragn did with his buildings. Morocco was the key of Barragns success with colors. Society may consider Morocco a poor country, but Morocco is a millionaire with respect to art, emotion, and the aesthetic sense, which give to life. Herbert Bayer, a master of the Bauhaus, wrote after his visit to Morocco, now I can die in peace, for I have discovered color (Buendia et al. 12). The villages of North Africa and Morocco combined with Mexican popular architecture and its brightly colored streets, were all inspiration for Barragn. Joy was indispensable in life said Barragn when he received Pritzker Prize, he continued saying, how can you enjoy life en dance, fairs, in music, the kids laugh, in the colors of the walls, doors and other elements that form the environment of the towns and particularly in popular architecture! (El Museo 10) He was in love with popular

architecture made not by architects, but from normal people. He knew very well how to use color in his architecture; his walls were always transporting you to another World full of his mysticism and emotions that only Barragn was able to create. All this mystery that Barragn did with the color would be nothing without light. The proper provision of light was an obsession to Barragn. Appears that design a house is more than combined functions; all this work reminds Matisse thesis proposed where light has to be equal to space and equal to color. An example of Matisse proposes is seen at Gilardis House indoor pool, which plays a most important role. The space for the dining room and pool is the synthesis of years of reflection on the use of light color and space, here Barragn incorporated new elements as when the suns rays touch the water and turn it gold. Entering to one of rooms is like beginning a mystical procession, where you discover as you go. He said, The house should not reveal all his secrets immediately, one has to discover it step by step, he concluded, It is an architectonic strip tease (Walls of Mexico). If all architects will replace fifty percent of crystal out of their faade and use it for walls that will mean a light that allows an intimate life and more concentration, in other words, this will further facilitate the use of human thought. Which is what the people need to recover their peace of mind and spirituality that has been lost. Not only his creations make Barragn alive also architects that were influenced by him. In Mxico his influence has been limited, but Ricardo Legorreta, the architect that represents Barragn, did with a vitally modern reinterpretation and he is also recognize in many parts of the world. Also many non-Mexican architects have been influenced by Barragn, outstanding Tadao Ando among the others. Tadao Ando is in these days one of most influential architects of the world and he referred to Barragn as: Luis Barragn who, from his firm roots in the natural elements of Mxico, gave birth to a sensual and passionate light containing an abundance

Barragn transcended their confines and created a new light. (Zanco 12) Without doubts, Barragn left a great legacy in the entire planet. In conclusion, Luis Barragn opened a door that will never close. He showed the world how Mexico really is, but not by showing his history, but by showing Mexican traditions trough modern architecture. His architecture represents his love to his country but also what a great human being he was, as he said once, death is a source of life. When human creations survived after his creators death, the death turns in life (Museo Rufino Tamayo 10). That was exactly what happened to Luis Barragn. Obviously he wasnt the only one who revolutionized Mexican architecture, but without doubt he was and is the greatest example of Mexican modern architecture. Sadly Barragn is more known and recognized outside his own country and where his work is. Many Mexicans do not really understand his point, they look at his work just as big blocks or walls with many colors, also, some of them make comments as everyone who add color to a big wall can be considered a modern Mexican architect, talking about satellite towers in Mexico city. Truth is that Barragn was a dignified example to follow, not only for architects, but also for any kind of people. He will never die, not whereas his creations still stand.

Work cited

The Walls of Mexico: art and architecture. New York, N.Y. : Films Media Group, 2008. Film. <http://digital.films.com/PortalViewVideo.aspx?xtid=6273>. Zanco, Federica, and Vitra Design Museum . Luis Barragn : the

quiet revolution. 1st. edition. Milan: Skira Editore S.p.A., 2001. 319. Print. Luis Barragan: ensayos y apuntes para un bosquejo critico. Mexico City: El Museo, 1985. 131. Print. Buendia, Jose Ma, Juan Palomar, and Guillermo Eguiarte. The life and work of Luis Barragan. 1st. edition. New York: Rizzoli international publication, 1997. 248. Print. Alexander, Christopher, Sara Ishikawa, Murray Silverteir, et al. A pattern language: towns,buildings,construction. 2. New York: Oxford University Press, 1977. 1171. Print. Vargas, Adalberto. Modernidad arquitectnica mexicana : tres influencias europeas 1930-1960. Mexico City: Universidad Nacional Autnoma del Estado de Mxico, Facultad de Arquitectura y Arte, 1995. 169. Print.