Issue link: http://papercitymagazine.uberflip.com/i/845169
a larger version of his own house that incorporated the site's jagged lava rocks into its design, and the nearby Casa Gálvez (1955), whose shocking pink main entry brought to this exclusive street house colors previously associated only with Mexico's less refi ned neighborhoods. By the time he built Casa Egerstrom (1966-1968) on the northern edge of Mexico City for a family of horse lovers, the colored walls had become the dominant element. The house focuses on a lavish pool for the horses surrounded by large expanses of orange, pink, and violet walls. Toward the end of his life, Barragán designed a project in Houston that was never built: a visiting-artist facility commissioned by art patron Dominique de Menil. The L-shaped project was centered on a walled pool reminiscent of the widely published dining room of Casa Gilardi (1975-77) in Mexico City, where an indoor swimming pool doubles as a fountain with a mysterious red wall in the middle. Sadly, we will never know how the intense pink exterior of the building he designed for the corner of Sul Ross Street and Yupon Street would have made its presence felt among the gray houses that surround The Menil Collection. Casa Francisco Gilardi, Mexico City, 1975-1977, view of the indoor pool adjoining the living/dining area Casa Antonio Gálvez, Mexico City, 1955, entrance LEFT, FROM TOP: BARRAGÁN: THE COMPLETE WORKS, REVISED EDITION, PAGE 199; LUIS BARRAGÁN: MEXICO'S MODERN MASTER, 1902-1988, PAGE 170. RIGHT, CLOCKWISE FROM TOP LEFT: BARRAGÁN: THE COMPLETE WORKS, REVISED EDITION, PAGE 119; LUIS BARRAGÁN: THE QUIET REVOLUTION, PAGE 235; LUIS BARRAGÁN: MEXICO'S MODERN MASTER, 1902-1988, PAGE 107. 48