Re-Evaluating Luis Baragán’s Emotional Architecture with the Concept of Synesthesia
Abstract
In contemporary architecture, emotional architecture is usually a design methodology to trigger an emotional response from its users. The emotional experiences from a particular architecture can be generated by its sense of place. Luis Baragán was one of the pioneering architects who integrated localism and universalism, and the reason why his works are more impressive in real space than in other architects is that they contain emotional elements that are invisible to the eye but appeal to human emotions. The objective of this paper is to explore Luis Baragán’s emotional architecture. For Luis Baragán, emotion is concerned with the search for essence, and architecture has the potential to bring essence into existence. As a methodology, the extraction of Luis Baragán’s architectural vocabulary that he mainly used and analyzes their relationships. For this analysis, the principle of the synesthetic architectural approach and the method of handling volume (void and solid) and light as the formative elements were investigated. The Analysis result had shown that his emotional architecture used three elements such as volume, light and objects. Regarding volume, his method of handling volume was confirmed through the relationship between void and solid, which are combined to obtain various sense of awe. His method of handling light is analyzed in two ways: half-Light and direct incoming light. In addition, Luis Baragán’s uses objects made of natural materials, objects of artificial materials, and objects as a means of maximizing the effect of space that he wants to realize through the juxtaposition. These spatial devices usually linked with the senses that stimulate the senses of sight, hearing, touch, speed, and temperature to induce a synesthetic spatial experience. This study will serve as a foundation to re-evaluate the emotional architecture that stimulates human sensibility with synesthesia that stimulates existing memories, norms, and spiritual values.
References
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Aldrete-Haas, J. A. (2003). The inner home (Casa Barragan, Ciudad de Mexico, 1947 by Luis Baragan). LOTUS INTERNATIONAL, 119, 40-57.
Architects, G. (2015). Space for Time. The Irish Review (1986-), (51), 23-27.
Avila, D. (2006). An analysis of the contributions of lighting and climate to the architecture of Luis Barragán. PLEA.
Bahn, S. C., & Jin, B. (2015). A study on the Application of Multisensory emotional tendency in Architectural design. Journal of the Korea Academia-Industrial cooperation Society, 16(8), 5683-5694.
Barragán, L. (2016). Emotive architecture. Delft University of Technology. 42-47.
Barragán, L., & Bergh, W. H. (2006). The Eye Embodied. Pale Pink Publishers. 54-58.
Barragan, R. (2008). An architectural score: Recording and orchestrating an architectural experience. Illinois Institute of Technology. 32-41.
Bernardi, J. (2018). Revolution and revelation: Luis Barragán’s monastery at Tlalpan. In Modern Architecture and Religious Communities, 1850–1970 (pp. 139-156). Routledge.
Brett, G. (2001). Qualities of interaction. Third Text, 15(54), 107-110.
Carranza, L. E., & Lara, F. L. (2015). Modern architecture in Latin America: art, technology, and utopia. University of Texas Press. 82-88.
Congxiao, L. Y. L. (2003). Enter the Poetic Architecture——Comparison between the Works of Tadao Ando and Luis Barrgan [J]. Huazhong Architecture, 6.
Cueto Ruiz-Funes, J. I. D. (2012). Ricardo Legorreta. An explosion of color in contemporary architecture. Voices of Mexico.
de Rentería, I., & Velázquez, C. R. (2018). Transitional spaces in the architecture of Luis Barragán and José Antonio Coderch: Casa Prieto López and Casa Ugalde. Arq: Architectural Research Quarterly, 22(3), 194
Del Arenal, M., Culturales, A. P., & Americana, C. (2008). Luis Barragan’s Architecture: Return to the Origins. 43-52.
Dezeen. (2018). No architect today is capable of buildings like Luis Barragán's. Retrieved from https://www.dezeen.com/2018/04/30/opinion-aaron-betsky-luis-barragan-casa-barragan/
Durão, M. J. (2010). Colour as pathway of light: Searching the shadow in Luis Barragán. Journal compilation Society of dyers and colourists.
Eggener, K. (1999). Postwar Modernism in Mexico: Luis Barragán's Jardines del Pedregal and the International Discourse on Architecture and Place. The Journal of the Society of Architectural Historians, 58(2), 122-145.
Eggener, K. L. (2000). Contrasting Images of Identity in the Post-War Mexican Architecture of Luis Barragan and Juan O'Gorman. Journal of Latin American Cultural Studies, 9(1), 27-45.
Ferguson, J. C. (2000). Luis Barragan: a study of architect-client relationships. University of Delaware. 65-73.
Figueroa, A., & Castorena, G. (2013). Inspiration from the Vernacular in the Architecture of Luis Barragán. Lessons from Vernacular Architecture, 154-163.
Gilsoul, N. (2009). Emotionnal Architecture Scenographic studies in the works of Barragan (1940-1980) (Doctoral dissertation, AgroParisTech).
Han, J., & Nam, J. (2015). The Representation of Ambiguity on the Spaces of Luis Barragán House and Studio. Journal of Asian Architecture and Building Engineering, 14(2), 287-291.
Hejduk, R. J., & Williamson, J. (2011). The religious imagination in modern and contemporary architecture: a reader. New York: Routledge, 2011..
Hyde, R., Upadhyay, A. K., & Treviño, A. (2016). Bioclimatic responsiveness of La Casa de Luis Barragán, Mexico City, Mexico. Architectural Science Review, 59(2), 91-101.
Jekot, B. P. (2007). Selective samples of the mainstream Western perception of beauty as a category in architecture-tracing physical beauty connected with mind, emotions and spirit. South African Journal of Art History, 22(3), 138-149.
Josten, J. (2018). Mathias Goeritz: Modernist Art and Architecture in Cold War Mexico. Yale University Press. 121-126.
Judd, D. (1994). Some aspects of color in general and red and black in particular. Artforum, 32(10), 70.
Júlbez, J. M. B., Palomar, J., Barragán, L., Eguiarte, G., Saldivar, S., & Siza, A. (1997). The life and work of Luis Barragán. Rizzoli International Publications. 83-92.
Kamil, S. M., & Yunos, M. Y. M. (2015). Establishing Malaysia Islamic Garden Based On Quranic Paradise Imagery: Descriptive Analysis From Tafsir Surah Waqiah. Advances in Environmental Biology, 9(23), 115-119.
Lifang, W. A. N. G. (2000). BEYOND THE FASHION── ON THE MEXICAN ARCHITECT, LUIS BARRAGAN [J]. WORLD ARCHITECTURE, 3.
Lozada, L. G. S. A. (2016). Luis Barragán Morfín: Regionalist Architecture?. Academia XXII, 7.
MOMA. (2017). The architecture of Luis Barragàn by Emilio Ambasz. Retrieved from https://www.moma.org/documents/moma_catalogue_2461_300298680.pdf
Mutlow, J. V. (2005). The new architecture of Mexico. Images Publishing. 45-56.
Noelle, L., & Topelson, S. (2007). MEXICO: ALTERNATIVE EXPRESSIONS. Docomomo Journal, (36).
Orozco, J. C. (2011). A comparative analysis of Kenneth Frampton’s critical regionalism and William JR Curtis’s authentic regionalism as a means for evaluating two houses by Mexican Architect Luis Barragan (Doctoral dissertation, Kansas State University).
Pallasmaa, J. (2000). Hapticity and time. Architectural Review, 207(1), 78-84.
Pallasmaa, J. (2011). The embodied image: Imagination and imagery in architecture. John Wiley & Sons. 67-72.
Pallasmaa, J. (2012). The eyes of the skin: architecture and the senses. John Wiley & Sons. 80-87.
Pallasmaa, J. (2016). Matter, Hapticity and Time Material Imagination and the Voice of Matter. Building Material, (20), 171-189.
Pelletier, L. (2008). Modeling the Void: Mathias Goeritz and the Architecture of Emotions. Journal of Architectural Education, 62(2), 6-13.
Pfaffli, V. (2020). Colorscapes: Color-Being (Doctoral dissertation, The George Washington University).
Premarathna, M. L. N. H. (2003). Light: an expressive matrix of architecture. 23-34.
Quan, Z. (2014). The Stage of Life, the Eternal Belonging: Interpretation of Place Spirit in Barragan's Creation. Huazhong Architecture, 02.
Quiceno, C. E. N. (2005). Thinking through things: 12 y 14 de la Calle Ramirez. Tacubaya, Mexico City: Luis Barragán's grounds. University of Pennsylvania. 45-52.
Ro, B. R., & Bermudez, J. (2015). Understanding extraordinary architectural experiences through content analysis of written narratives. Enquiry The ARCC Journal for Architectural Research, 12(1).
Schultz, K., Wiedemann-Tokarz, H., & Herrmann, E. M. (2018). Positions on color in architecture. In Thinking Color in Space (pp. 37-76). Birkhäuser.
Schumacher, J. (2010). The Phenomenology of Color [As a Working Methodology for Design Practice]. In Art Inspiring Transmutations of Life (pp. 383-391). Springer, Dordrecht.
Shields, J. (2014). Collage and architecture. Routledge. 66-73.
Shu, G. X. Z. (2009). Echo of the Great Minds——Analysis Idea of Barragan's Architecture Aesthetics. Architecture & Culture, 9.
Shyu, S. (2010). The Formation of a Space: A Review of the Teaching of Freshman-Year Design Studio. The Scholarship of Teaching and Learning at EMU, 3(1), 12.
Sioui, G. B. (2019). AMBIANTAL ARCHITECTURE− Defining the role of water in the aesthetic experience of sensitive architectural ambiances. In SHS Web of Conferences (Vol. 64, p. 03003). EDP Sciences.
The Economist. (2003). Luis Barragán: The colours of serenity. Retrieved from https://www.economist.com/books-and-arts/2003/01/23/the-colours-of-serenity
Tsai, S. (2011). Therapeutic poetry//an architectural intervention in the reconnections of psychiatric rehabilitation (Doctoral dissertation, ResearchSpace@ Auckland).
Wang, J., & Zheng, D. (2020, June). Homecoming: the Origin and Destination of Architectural Design. In IOP Conference Series: Earth and Environmental Science (Vol. 525, No. 1, p. 012089). IOP Publishing.
Wang, M. F., & Liu, Z. C. (2004). Understand Life with Sensibility Construct Space with Poetry: A Brief Probe into the Design Idea and Artistic Technique of the Architect Barragan. Journal of Central South Forestry University, 3.
Wang, Q. (2016). Emotional Architecture for Everyday Life. Architectural Design for Senior Living Oriented by the Psychological Pattern of Elderly People (Doctoral dissertation, Universitat de Barcelona).
Xin, M. (2008). Times Response and Critical Expression: Research on the Design Philosophy of Luis Barragan. South Architecture, 02.
Xin, W. (2014). Peaceful Space Created by Volume, Surface, and Color: Barragan House and Studio Design Analysis. The Architect, 01.
Yang, T. A. N. G. (2009). Interpretation on building work of the emotion architects Louis Barragan. Shanxi Architecture, 35.
Yasufuku, K., Enomoto, T., & Abe, H. (2019). Spatial recognition affected by color and texture in architectural space. Journal of Graphic Science of Japan, 52(4), 19.
Yirui, L. I. A. N. (2012). POETIC SORCERER: LUIS BARRAGAN'S GARDEN ARCHITECTURE. Community Design.
Yoo, Y. S. (2013). A Study on the Characteristic of Color use Scheme in Luis Barragan's Architecture. Journal of the Korea Furniture Society, 24(4), 416-425.
Zhou, T. (2011, April). Analysis on minimalism architecture from the perspective of image society. In 2011 International Conference on Electric Technology and Civil Engineering (ICETCE) (pp. 1023-1025). IEEE.
Aldrete-Haas, J. A. (2003). The inner home (Casa Barragan, Ciudad de Mexico, 1947 by Luis Baragan). LOTUS INTERNATIONAL, 119, 40-57.
Architects, G. (2015). Space for Time. The Irish Review (1986-), (51), 23-27.
Avila, D. (2006). An analysis of the contributions of lighting and climate to the architecture of Luis Barragán. PLEA.
Bahn, S. C., & Jin, B. (2015). A study on the Application of Multisensory emotional tendency in Architectural design. Journal of the Korea Academia-Industrial cooperation Society, 16(8), 5683-5694.
Barragán, L. (2016). Emotive architecture. Delft University of Technology. 42-47.
Barragán, L., & Bergh, W. H. (2006). The Eye Embodied. Pale Pink Publishers. 54-58.
Barragan, R. (2008). An architectural score: Recording and orchestrating an architectural experience. Illinois Institute of Technology. 32-41.
Bernardi, J. (2018). Revolution and revelation: Luis Barragán’s monastery at Tlalpan. In Modern Architecture and Religious Communities, 1850–1970 (pp. 139-156). Routledge.
Brett, G. (2001). Qualities of interaction. Third Text, 15(54), 107-110.
Carranza, L. E., & Lara, F. L. (2015). Modern architecture in Latin America: art, technology, and utopia. University of Texas Press. 82-88.
Congxiao, L. Y. L. (2003). Enter the Poetic Architecture——Comparison between the Works of Tadao Ando and Luis Barrgan [J]. Huazhong Architecture, 6.
Cueto Ruiz-Funes, J. I. D. (2012). Ricardo Legorreta. An explosion of color in contemporary architecture. Voices of Mexico.
de Rentería, I., & Velázquez, C. R. (2018). Transitional spaces in the architecture of Luis Barragán and José Antonio Coderch: Casa Prieto López and Casa Ugalde. Arq: Architectural Research Quarterly, 22(3), 194
Del Arenal, M., Culturales, A. P., & Americana, C. (2008). Luis Barragan’s Architecture: Return to the Origins. 43-52.
Dezeen. (2018). No architect today is capable of buildings like Luis Barragán's. Retrieved from https://www.dezeen.com/2018/04/30/opinion-aaron-betsky-luis-barragan-casa-barragan/
Durão, M. J. (2010). Colour as pathway of light: Searching the shadow in Luis Barragán. Journal compilation Society of dyers and colourists.
Eggener, K. (1999). Postwar Modernism in Mexico: Luis Barragán's Jardines del Pedregal and the International Discourse on Architecture and Place. The Journal of the Society of Architectural Historians, 58(2), 122-145.
Eggener, K. L. (2000). Contrasting Images of Identity in the Post-War Mexican Architecture of Luis Barragan and Juan O'Gorman. Journal of Latin American Cultural Studies, 9(1), 27-45.
Ferguson, J. C. (2000). Luis Barragan: a study of architect-client relationships. University of Delaware. 65-73.
Figueroa, A., & Castorena, G. (2013). Inspiration from the Vernacular in the Architecture of Luis Barragán. Lessons from Vernacular Architecture, 154-163.
Gilsoul, N. (2009). Emotionnal Architecture Scenographic studies in the works of Barragan (1940-1980) (Doctoral dissertation, AgroParisTech).
Han, J., & Nam, J. (2015). The Representation of Ambiguity on the Spaces of Luis Barragán House and Studio. Journal of Asian Architecture and Building Engineering, 14(2), 287-291.
Hejduk, R. J., & Williamson, J. (2011). The religious imagination in modern and contemporary architecture: a reader. New York: Routledge, 2011..
Hyde, R., Upadhyay, A. K., & Treviño, A. (2016). Bioclimatic responsiveness of La Casa de Luis Barragán, Mexico City, Mexico. Architectural Science Review, 59(2), 91-101.
Jekot, B. P. (2007). Selective samples of the mainstream Western perception of beauty as a category in architecture-tracing physical beauty connected with mind, emotions and spirit. South African Journal of Art History, 22(3), 138-149.
Josten, J. (2018). Mathias Goeritz: Modernist Art and Architecture in Cold War Mexico. Yale University Press. 121-126.
Judd, D. (1994). Some aspects of color in general and red and black in particular. Artforum, 32(10), 70.
Júlbez, J. M. B., Palomar, J., Barragán, L., Eguiarte, G., Saldivar, S., & Siza, A. (1997). The life and work of Luis Barragán. Rizzoli International Publications. 83-92.
Kamil, S. M., & Yunos, M. Y. M. (2015). Establishing Malaysia Islamic Garden Based On Quranic Paradise Imagery: Descriptive Analysis From Tafsir Surah Waqiah. Advances in Environmental Biology, 9(23), 115-119.
Lifang, W. A. N. G. (2000). BEYOND THE FASHION── ON THE MEXICAN ARCHITECT, LUIS BARRAGAN [J]. WORLD ARCHITECTURE, 3.
Lozada, L. G. S. A. (2016). Luis Barragán Morfín: Regionalist Architecture?. Academia XXII, 7.
MOMA. (2017). The architecture of Luis Barragàn by Emilio Ambasz. Retrieved from https://www.moma.org/documents/moma_catalogue_2461_300298680.pdf
Mutlow, J. V. (2005). The new architecture of Mexico. Images Publishing. 45-56.
Noelle, L., & Topelson, S. (2007). MEXICO: ALTERNATIVE EXPRESSIONS. Docomomo Journal, (36).
Orozco, J. C. (2011). A comparative analysis of Kenneth Frampton’s critical regionalism and William JR Curtis’s authentic regionalism as a means for evaluating two houses by Mexican Architect Luis Barragan (Doctoral dissertation, Kansas State University).
Pallasmaa, J. (2000). Hapticity and time. Architectural Review, 207(1), 78-84.
Pallasmaa, J. (2011). The embodied image: Imagination and imagery in architecture. John Wiley & Sons. 67-72.
Pallasmaa, J. (2012). The eyes of the skin: architecture and the senses. John Wiley & Sons. 80-87.
Pallasmaa, J. (2016). Matter, Hapticity and Time Material Imagination and the Voice of Matter. Building Material, (20), 171-189.
Pelletier, L. (2008). Modeling the Void: Mathias Goeritz and the Architecture of Emotions. Journal of Architectural Education, 62(2), 6-13.
Pfaffli, V. (2020). Colorscapes: Color-Being (Doctoral dissertation, The George Washington University).
Premarathna, M. L. N. H. (2003). Light: an expressive matrix of architecture. 23-34.
Quan, Z. (2014). The Stage of Life, the Eternal Belonging: Interpretation of Place Spirit in Barragan's Creation. Huazhong Architecture, 02.
Quiceno, C. E. N. (2005). Thinking through things: 12 y 14 de la Calle Ramirez. Tacubaya, Mexico City: Luis Barragán's grounds. University of Pennsylvania. 45-52.
Ro, B. R., & Bermudez, J. (2015). Understanding extraordinary architectural experiences through content analysis of written narratives. Enquiry The ARCC Journal for Architectural Research, 12(1).
Schultz, K., Wiedemann-Tokarz, H., & Herrmann, E. M. (2018). Positions on color in architecture. In Thinking Color in Space (pp. 37-76). Birkhäuser.
Schumacher, J. (2010). The Phenomenology of Color [As a Working Methodology for Design Practice]. In Art Inspiring Transmutations of Life (pp. 383-391). Springer, Dordrecht.
Shields, J. (2014). Collage and architecture. Routledge. 66-73.
Shu, G. X. Z. (2009). Echo of the Great Minds——Analysis Idea of Barragan's Architecture Aesthetics. Architecture & Culture, 9.
Shyu, S. (2010). The Formation of a Space: A Review of the Teaching of Freshman-Year Design Studio. The Scholarship of Teaching and Learning at EMU, 3(1), 12.
Sioui, G. B. (2019). AMBIANTAL ARCHITECTURE− Defining the role of water in the aesthetic experience of sensitive architectural ambiances. In SHS Web of Conferences (Vol. 64, p. 03003). EDP Sciences.
The Economist. (2003). Luis Barragán: The colours of serenity. Retrieved from https://www.economist.com/books-and-arts/2003/01/23/the-colours-of-serenity
Tsai, S. (2011). Therapeutic poetry//an architectural intervention in the reconnections of psychiatric rehabilitation (Doctoral dissertation, ResearchSpace@ Auckland).
Wang, J., & Zheng, D. (2020, June). Homecoming: the Origin and Destination of Architectural Design. In IOP Conference Series: Earth and Environmental Science (Vol. 525, No. 1, p. 012089). IOP Publishing.
Wang, M. F., & Liu, Z. C. (2004). Understand Life with Sensibility Construct Space with Poetry: A Brief Probe into the Design Idea and Artistic Technique of the Architect Barragan. Journal of Central South Forestry University, 3.
Wang, Q. (2016). Emotional Architecture for Everyday Life. Architectural Design for Senior Living Oriented by the Psychological Pattern of Elderly People (Doctoral dissertation, Universitat de Barcelona).
Xin, M. (2008). Times Response and Critical Expression: Research on the Design Philosophy of Luis Barragan. South Architecture, 02.
Xin, W. (2014). Peaceful Space Created by Volume, Surface, and Color: Barragan House and Studio Design Analysis. The Architect, 01.
Yang, T. A. N. G. (2009). Interpretation on building work of the emotion architects Louis Barragan. Shanxi Architecture, 35.
Yasufuku, K., Enomoto, T., & Abe, H. (2019). Spatial recognition affected by color and texture in architectural space. Journal of Graphic Science of Japan, 52(4), 19.
Yirui, L. I. A. N. (2012). POETIC SORCERER: LUIS BARRAGAN'S GARDEN ARCHITECTURE. Community Design.
Yoo, Y. S. (2013). A Study on the Characteristic of Color use Scheme in Luis Barragan's Architecture. Journal of the Korea Furniture Society, 24(4), 416-425.
Zhou, T. (2011, April). Analysis on minimalism architecture from the perspective of image society. In 2011 International Conference on Electric Technology and Civil Engineering (ICETCE) (pp. 1023-1025). IEEE.
Published
2021-11-01
How to Cite
JUNG, Chuloh; SHERZAD, Mohammed; ARAR, Mohammad.
Re-Evaluating Luis Baragán’s Emotional Architecture with the Concept of Synesthesia.
International Journal of Advanced Research in Engineering Innovation, [S.l.], v. 3, n. 3, p. 84-97, nov. 2021.
Available at: <https://myjms.mohe.gov.my/index.php/ijarei/article/view/16026>. Date accessed: 14 sep. 2024.
Section
Articles
