de Rentería-Cano, I. (Isabela)

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    Casa Barragán. Tres miradas en blanco y negro
    (Servicio de Publicaciones Universidad de Navarra, 2016) Rueda-Velázquez, C. (Claudia); de Rentería-Cano, I. (Isabela); Martínez-Durán, A. (Anna)
    The Barragan house in Tacubaya, México, is perhaps one of the most photographed architectural objects of our recent history. Certainly what we know about the house and the architect has been built from the photographer Armando Salas Portugal’s view. His symbiotic work has allowed us to understand an architecture based on color walls and on “beauty, inspiration, bewitch, magic and sorcery” as Luis Barragan expressed in his Pritzker Price (1980) discourse. Just finished in 1947, the work was widespread through several publications of the time, where other photographers contributed different perspectives through their lenses. One of them was the photographer Elizabeth Timbermann, who collaborated with Esther McCoy “ American critic of architecture” to the research she was carrying out on modern Mexican architecture. Timbermann’s shoots of the house explain it livable, full of books, sculptures and plants. After Luis Barragan’s death (1988), the Mexican photographer Mariana Yampolsky made a report of the empty house: The walls and windows are splattered by workers that repair the house. In those little known photographs, the focus is on traditional workforce. This paper proposes, through the analysis of pictures taken by the three photographers at three stages of the live in the house, an approach to the work otherwise, since for being so well known it is not well apprehended. Three stories are presented at the same architectural episode through photography: three looks that focus on different aspects of the house that allow us to better understand it. In this search made by the photographer to link spaces, to emphasize light and shadow, the house presents us with its magic, mystery and loneliness, as the faithful companion that was for its inhabitant.