建筑除了是空间的还是音乐的，是用水来演奏的乐曲。墙的重要性在于隔绝街道外部的嘈杂，街道是带有侵略性的而墙则为我们创造了宁静，在这份宁静中用水奏响美妙的乐章在我们身边缭绕。
Architecture, besides being spatial, is also musical. That music is played with water. The importance of walls is that they isolate one from the street’s exterior space. The street is aggressive, even hostile: walls create silence. From that silence you can play with water as music. Afterwards, that music surrounds us.- Luis Barragán
今天要介绍的是第二位普利兹克奖（1980年）建筑师Luis Barragán的一个伟大项目：Cuadra San Cristóbal。
Today Archview will introduce a great project of the second Pritzker Prize (1980) architect Luis Luis Barragán: Cuadra San Cristóbal.
Luis Barragán喜欢马，在附近的Hípicofrancés俱乐部骑行时与Egerström相识，他们都对马术生活充满热情。1964年受Egerström所托，在墨西哥城附近设计一个马术场馆，用于繁殖和训练纯种马，
Luis Barragán loves horses and met Egerström while riding at the nearby club hípico francés, both shared a passion for the equestrian life. In 1964, entrusted by Egerström, he designed an equestrian stadium near Mexico City for breeding and training of thoroughbreds.
Luis Barragán与Andre Casillas合作，于1966年设计，并于1967年至1968年之间为瑞典出生的Folke S.Egerström（1921-2002年）和他的家人建造，该建筑的风格捕捉了宫殿的氛围。包括主屋，两间客房，马厩和两个L形游泳池：一个供人使用，一个供马使用。
The project that Luis Barragán, in collaboration with Andrés Casillas, designed in 1966 and built between 1967 and 1968 for Swedish-born Folke S. Egerström (1921-2002) and his family captures the atmosphere of a palazzo with its main house, a two-bedroom guesthouse, stables, and two L-shaped swimming pools: one for people and one for horses.
对他来说，这个建筑虽是给俱乐部成员使用，但是到底还是马所生活的地方。或者我们干脆可以说，他是为两种动物设计：一者是马，另一者就是骑马者。所有马活动的区域都为粉色，而人居住休憩的地方则为中性的奶白色。尺度也全然按照马来。水平的元素、空旷的场地、高大的开口，地面是明晃晃的沙土，粉红色的墙面围绕四周，定义出一个马的活动空间，中间一面绛红色的墙面兀立在一片浅水中，女主人打开了喷泉，水从墙的一侧跌落打破了寂静。
For him, although this building is intended for club members, it is still the place where the horse lives. Or we can simply say that he is designed for two kinds of animals: one is a horse and the other is a rider. The area where all horses are active is pink, while the place where people live and relax is neutral milky white. The scale is completely in accordance with Malay. Horizontal elements, open fields, tall openings, the ground is bright and sandy, and pink walls surround the surroundings, defining a horse's activity space. The middle red wall is standing in a shallow water, and the hostess opens In the fountain, the water fell from the side of the wall and broke the silence.
这个喷泉就是Luis Barragán著名的“恋人喷泉的来源”或“ Fuente De Los Amantes”。人们认为该喷泉是他做过的最好的景观设计之一。它吸引了来自世界各地的建筑师和非建筑师，看到了将景观建筑与自然融合的非凡作品。Barragán参观西班牙La Alhambra的花园时，他对伊斯兰花园设计的美丽着迷，这在他的杰作和他创建的所有景观项目中都得到了体现（Ambasz，1976年，第105页）。
"Source of the Lovers fountain" or "Fuente De Los Amantes". This fountain is thought to be one of his best landscape projects he had ever made. It attracted architects and non-architects as well from all around the world to see the remarkable work of combining landscape architecture and nature. When Barragán visited the gardens of La Alhambra in Spain, he became fascinated by the beauty of the Islamic garden design, and that was reflected in this masterpiece and all the landscape projects he created (Ambasz, 1976, p. 105).
喷泉是马厩的很重要一部分。它被称为恋人之源，可以反映和强调一个人对马的深厚感情和爱。顺着墙壁流下的水声为骑手经过喷泉时提供了安宁和放松（Ambasz，1976年，第73页）。
The fountain was built as part of a bigger project, a horse stable. It was called the source of the lovers to reflect and emphasize the deep relationship and love a man has for his horse. The sound of the water running down the wall provides peace and relaxation to the rider as he passes by the fountain (Ambasz, 1976, p. 73).
墙壁使用粉红色和棕色（红色地球）。墙壁在水面上的反射是一件美丽的作品（Anaya，2011年）。喷泉的整个场景源自Barragán的童年和对马的热爱（Textosa，2011年）。他希望骑马者和马匹自己感到舒适并享受这个地方的宁静，这就是他创造喷泉的原因。
Pink and brown (Red-Earth) were used for the walls. The reflection of the walls on the surface of the water is a work of beauty (Anaya, 2011). The whole scene of the fountain is derived from Barragán's childhood and his love for horses (Textosa, 2011). He wanted the horse rider and the horse itself to feel comfortable and enjoy the quietness of this place which is why he created the fountain.
童年的回忆是Barragán创作的源泉和无尽的资源，他小时候生活的村庄中那些谦逊的建筑形态给了他许多的启发，那些用石灰水刷白的围墙，天井与果园的宁静色彩丰富的街道，村里在环廊掩映下毫无威严感的广场...这些丰富了他对建筑简洁之美的体验。
Childhood memories are the source and endless resources of Barragán's creation. The humble architectural forms in the village where he lived as a child gave him much inspiration. Those white walls painted with lime water, the quiet and colorful streets of the patio and orchard, the village The square without a sense of majesty under the ring corridor... These enriched his experience of the concise beauty of the building.
每当我清醒或者睡着的时候，关于喷泉的甜美回忆都陪伴着我，在我的一生中。我回想起童年的喷泉：为大坝分流的水道，被遗弃的果园隐蔽处的暗湖，修道院回廊浅泉旁的边石，小股的乡间清泉，巨大水生乔木下镜子般颤动的湖水，当然，还有古老的沟渠——罗马帝国持久的遗留——水平地急速传输着液态宝藏，在最终的瀑布上留下一道彩虹。-Luis Barragán, 1980
Whenever I am awake or asleep, the sweet memories of the fountain will accompany me throughout my life. I think back to the fountains of my childhood: the waterways that diverted the dam, the dark lake in the hidden orchard of the abandoned orchard, the kerb beside the shallow springs of the cloister of the monastery, the small springs in the countryside, the trembling lake under the mirror of huge aquatic trees, of course There are also ancient ditches — the long-lasting legacy of the Roman Empire — horizontally and rapidly transmitting liquid treasures, leaving a rainbow on the final waterfall. -Luis Barragán, 1980
水是建筑师Barragán作品中反复出现的主题。在San Cristobal项目中，每个空间均通过抽象结构和水的使用而无缝流动。水被用作连续装置，它是一种带来平静感的方式。在整个场地中，喷泉和宁静的蔚蓝色调与赤陶，清脆的白色和粉红色的外墙形成鲜明对比。同时，喷泉和水景也可以用作马池。Barragán对此表示：我计算了池塘的深度，以便当马经过时，水会流到腹部。
Water is a recurring motif in the architect’s work as a result of colonial influence. In San Cristobal project each space flows seamlessly aided by abstract structures and the use of water. The water is used as a continuity device and it is a way to bring a sense of calm. Throughout the site, fountains and serene azure tones contrast with the terracotta, crisp whites and the pink exterior walls. At the same time, the fountains and the water features serve as a horse pool. Barragán expressed about it: I calculated the depth of the pond so that when the horse passed, the water would reach the belly.
当问到路易斯·巴拉甘（Luis Barragán）为什么他只为有钱人盖房子时，这位墨西哥建筑师补充说：
……对于马来说，但马既不富也不穷，他们只是马。”
When Luis Barragán was asked why he only built homes for the wealthy, the Mexican architect added: ……and for horses, but horses are neither rich or poor, they’re just horses.”
Cuadra San Cristobal是Barragán早年时对于本地传统建筑的热衷和旅欧时受柯布西耶影响的结合体现。建筑群中的House Egerstrom一如Barragán早期的其他住宅项目，仍然是简单的整形和对窗和光的探索。这里当然不是想法国的住宅那样的水平长窗和底层花园，他有他自己的框景的方式。这点在他早期的自宅里有最好的体现。
Cuadra San Cristobal is a combination of Barragán's enthusiasm for local traditional architecture in his early years and the influence of Corbusier when he was in Europe. House Egerstrom in the complex is just like other residential projects in the early days of Barragán. It is still simple shaping and exploration of windows and light. This is certainly not the horizontal long window and ground floor garden like the French house, he has his own framed way. This is best reflected in his early home.
Egerstrom的房子是Barragán最复杂的作品。凭借非凡的纪律和极少的建筑元素，他重新创建了自己小时候所认识的普韦布洛村落的微型模型：房屋，马场，马厩，友好的树木和水。这种空间没有任何特定的顺序，但仍然充满了情感诗意。这座房子与墨西哥城Tacubaya区为他自己设计的那栋Barragan时隔二十年，但是很明显，它们都是由同一个人设计的。
The Egerstrom house is Barragán’s most complex creation. With extraordinary discipline and very few architectural elements, he recreated a micro-model of the pueblos he knew as a child: the house, the plaza, the horses, the friendly trees, and the water. The tendency of Barragán to create spaces without any particular order, but still full of emotion and poetry. Twenty years separate this house from the one Barragan designed for himself in the Tacubaya section of Mexico City, but it is pretty obvious that they are both designed by the same person.
项目信息
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建筑师：Luis Barragán, Andrés Casillas
Architects: Luis Barragán, Andrés Casillas
地点：墨西哥墨西哥城，萨拉戈萨，Atizapán
Location: Atizapán de Zaragoza, Mexico City, Mexico
材料：砖和石膏
Material: Brick & Plaster
类型：住宅/房屋
Typology: Residential / House
项目年份：1964-1969
Project Year: 1964-1969
图纸：©Luis Barragán
Drawings: © Luis Barragán
▲Luis Barragán（1902.03.09~1988.11.22）
在美国Philip Johnson首次颁发普利兹克奖之后，墨西哥人Luis Barragán于1980年被选为第二位获奖者，这使其成为名单上的第一位拉丁美洲人。在典礼上，听到了以下内容：“我们为Luis Barragán对诗意想像力的崇高举止对建筑的承诺表示敬意。他创造了迷人的美丽花园，广场和喷泉，形而上的风景，享受冥想和陪伴。
After the Pritzker Prize was premiered by the American Philip Johnson, the Mexican was chosen in 1980 as its second winner, making it the first Latin American on the list. At the ceremony the following was heard: “We honor Luis Barragán for his commitment to architecture as a sublime act of poetic imagination. He has created gardens, squares and fountains of enchanting beauty, metaphysical landscapes to enjoy meditation and company ”.
Luis Barragán Morfín于1902年3月9日出生于哈利斯科州Guadalajara。尽管他来自一个处境良好的家庭，但他的直觉最重要的是使他进入了设计和建筑世界。1924年获得工程学士学位后，他遍游欧洲。他后来的设计观念深受西班牙南部摩尔建筑、地中海本土建筑、斐迪南·贝克的花园、弗雷徳里克·基斯勒的理论以及勒·柯布西耶的著作和理论的影响。
Luis Barragán Morfín was born in Guadalajara, Jalisco on March 9, 1902. Although he came from a well-positioned family, his instinct was, above all his comforts, that led him to enter the world of design and architecture. After receiving a bachelor's degree in engineering in 1924, he traveled all over Europe. His later design concepts were deeply influenced by Moorish architecture in southern Spain, native Mediterranean architecture, Ferdinand Baker's garden, Frederick Kessler's theory, and Le Corbusier's works and theories.
Barragán早期的作品采用国际风格，然而，欧洲之行和其本身的墨西哥“乡土主义”感触所激发的各种想法形成了一种个人的设计风格。另外，由于受本国艺术作品的启发，Barragán试图去创造出一种保留地方艺术根源的建筑风格，同时又追求精神上的美以及与自然的和谐。他努力通过对景观建筑浪漫主义的诠释重现童年环境的静谧和美丽。
Barragán's early works adopted an international style. However, the various ideas inspired by the trip to Europe and its own Mexican "nativeism" formed a personal design style. In addition, Barragán tried to create an architectural style that preserves the roots of local art while being inspired by national artworks, while also pursuing spiritual beauty and harmony with nature. He strives to reproduce the tranquility and beauty of the childhood environment through the interpretation of the romanticism of landscape architecture.
与其同时代建筑家不同的是，Barragán忠于画家及景观建筑师斐迪南·贝克的理论，将花园视为一个神奇的环境。厚厚的墙壁、小小的出口、明亮的颜色以及对自然材料的使用是Barragán成熟作品的特色，其晚期作品的成功之处主要在于阳光和水面赏心悦目的交相辉映。
Unlike his contemporary architects, Barragán was loyal to the theory of painter and landscape architect Ferdinand Baker, and regarded the garden as a magical environment. Thick walls, small exits, bright colors, and the use of natural materials are the characteristics of Barragán's mature works. The success of his later works is mainly due to the beautiful reflection of sunlight and water.
Luis Barragán于1988年11月22日因帕金森氏病去世，遗体被墨西哥国旗包裹，并被掩盖在国家美术学院中央大厅。
Luis Barragán died on November 22, 1988 due to Parkinson's disease, his remains were wrapped in the Mexican flag and veiled in the central hall of the National Institute of Fine Arts.
参考资料
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Archeyes<San Cristobal Stable & Egerstrom House / Luis Barragan>
Rawan Hassan<Architect and landscape designer, Luis Barragan>
Jinglu Huang<巴拉甘：自宅/友宅/马厩 —— 关于自然色和自然光>
LAC STUDIO／梆梆梆<Ricardo Legorreta & Luis Barragán （下）>
Aura<Luis Barragan 路易斯•巴拉干>
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