The guest bedroom facing the street is a later addition to the first project; originally, a terrace existed in that space. This room and the two bedrooms on the second level share a monastic spirit, not only in the economy of resources with which they are composed, but also in the selection of furniture and the textures of the rugs and bedspreads.
This character recalls the fact that they were conceived by a devout Franciscan, who learned from his spiritual master not to surround himself by things that might distract the spirit but to live with them in a precise balance between indifference towards material things and a deep love for those that are useful. The love for the sister things.
With the exception of the breakfast room, none of the rooms of house contains a homogeneous artificial ceiling light. The house is illuminated by a set of precise luminous accents. There are cylinders or rectangular volumes on the floor and on the tables, or functional work lamps that pass from the drawing table to the head of the bed or to a side table in the reading corner.
The intimacy and scale of the mezzanine are contained inside the great space of the living room-library with a wall that lets the view follow the rhythm of the ceiling beams. Next to the record collection, where tribal music stands out, an ivory crucifix, a Saint Francis statue and a ritual non-Catholic object, are kept in this room.
Here, the window is now a play of white shutters and a careful study of proportions that allows the sky to come in while hiding the street and printing a negative of the living room window against the wall. This time, instead of the metal on the glass, a cross is made out of light.
© Fundación de Arquitectura Tapatía Luis Barragán A. C.