# Luis Barragán

Luis Barragán (9 March 1902 - 22 November 1988) is considered the most important Mexican architect of the 20th century. He created an architectural style that combined modernism with the colonial and prehispanic architecture of Mexico. In 1980, he became the second winner of the Pritzker Prize. His house and studio, built in 1948 in Mexico City, was listed as a UNESCO World Heritage site in 2004.

## Quotes

* Any work of architecture which does not express serenity is a mistake.
** As quoted in Contemporary Architects (1980) by Muriel Emanuel, p. 72
* I believe that architects should design gardens to be used, as much as the houses they build, to develop a sense of beauty and the taste and inclination toward the fine arts and other spiritual values.
** As quoted in Contemporary Architects (1980) by Muriel Emanuel, p. 72

### Acceptance of the Pritzker Architecture Prize (1980)

    Acceptance Speech of the Pritzker Architecture Prize PDF
* I welcome the opportunity to express my admiration for the United States of America, generous patron of the arts and sciences, which — as in so many instances — has transcended its geographical frontiers and purely national interests to confer this high distinction on a son of Mexico, thus recognizing the universality of cultural values and, in particular, those of my native country.
* I am only a symbol for all those who have been touched by Beauty. It is alarming that publications devoted to architecture have banished from their pages the words Beauty, Inspiration, Magic, Spellbound, Enchantment, as well as the concepts of Serenity, Silence, Intimacy and Amazement. All these have nestled in my soul, and though I am fully aware that I have not done them complete justice in my work, they have never ceased to be my guiding lights.
* It is impossible to understand Art and the glory of its history without avowing religious spirituality and the mythical roots that lead us to the very reason of being of the artistic phenomenon. Without the one or the other there would be no Egyptian pyramids or those of ancient Mexico. Would the Greek temples and Gothic cathedrals have existed? Would the amazing marvels of the Renaissance and the Baroque have come about? And in another field, would the ritual dances of the so-called primitive cultures have developed? Would we now be the heirs of the inexhaustible artistic treasure of worldwide popular sensitivity? Without the desire for God, our planet would be a sorry wasteland of ugliness.
* Beauty. The invincible difficulty that the philosophers have in defining the meaning of this word is unequivocal proof of its ineffable mystery. Beauty speaks like an oracle, and ever since man has heeded its message in an infinite number of ways: it may be in the use of tattoos, in the choice of a seashell necklace by which the bride enhances the promise of her surrender, or, again, in the apparently superfluous ornamentation of everyday tools and domestic utensils, not to speak of temples and palaces and even, in our day, in the industrialized products of modern technology. Human life deprived of beauty is not worthy of being called so.
* In the gardens and homes designed by me, I have always endeavored to allow for the interior placid murmur of silence, and in my fountains, silence sings.
* Only in intimate communion with solitude may man find himself. Solitude is good company and my architecture is not for those who fear or shun it.
* Serenity is the great and true antidote against anguish and fear, and today, more than ever, it is the architect’s duty to make of it a permanent guest in the home, no matter how sumptuous or how humble. Throughout my work I have always strived to achieve serenity, but one must be on guard not to destroy it by the use of an indiscriminate palette.
* How can one forget joy? I believe that a work of art reaches perfection when it conveys silent joy and serenity.
* The certainty of death is the spring of action and therefore of life, and in the implicit religious element in the work of art, life triumphs over death.
* In the creation of a garden, the architect invites the partnership of the Kingdom of Nature. In a beautiful garden, the majesty of Nature is ever present, but Nature reduced to human proportions and thus transformed into the most efficient haven against the aggressiveness of contemporary life.
* A garden must combine the poetic and the mysterious with a feeling of serenity and joy.
* A fountain brings us peace, joy and restful sensuality and reaches the epitome of its very essence when by its power to bewitch it will stir dreams of distant worlds.
* Being a Catholic, I have frequently visited with reverence the now empty monumental monastic buildings that we inherited from the powerful religious faith and architectural genius of our colonial ancestors, and I have always been deeply moved by the peace and wellbeing to be experienced in those uninhabited cloisters and solitary courts. How I have wished that these feelings may leave their mark on my work.
* The Art of Seeing. 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.

## External links

* Barragan Foundation - The Archives of Luis Barragán
* Luis Barragan's house and studio (Spanish)
* Barragán's Pritzker Prize citation