It is well known that Barragán was not interested in theorizing about his own work. He preferred to leave the interpretation of his architectural practice to others. However, among the few texts he did write to articulate his professional philosophy, there is one of particular interest. 

This article is part of a collaboration with the website coolhuntermx and was originally published under the title "Marianne Gast: una artista no reconocida de la modernidad" written by David Lozano Díaz.

The founding of Guadalajara's first School of Architecture is a story often told as an almost ‘heroic’ feat, brought to fruition after years of effort. Once a series of fortunate events aligned, the capital of Jalisco finally achieved creative, architectural, and urban independence, fostering its own professionals to build a better Guadalajara.

With Tlaquepaque and Tonalá, two highly important pottery centers, as neighbors, Guadalajara naturally became an epicenter for the promotion and commercialization of crafts. Consequently, in 1963, the government of Jalisco decided to develop a space to promote the work of artisans from all regions of the state.

This article is part of a collaboration with the website coolhuntermx, and was originally published under the title "La Bauhaus Tapatía."

"A sort of Bauhaus" is how Mathias Goeritz, in short, tried to convince Italian architect and theorist Alberto Sartoris to come to Mexico. In 1950, through letters, he invited him to teach at the very project that had drawn Goeritz in and excited him so much: the first School of Architecture of Guadalajara, founded in 1948 by Ignacio Díaz Morales.

This article is part of a collaboration with the website coolhuntermx and was originally published under the title "Julio de la Peña, the architect who built half of Guadalajara."

The moniker of having “built half the city” is often an exaggeration when discussing architects with a large volume of work. However, in the case of Julio de la Peña, the claim is not so far-fetched. This is true not only because of the sheer number of his projects, but also due to how iconic they are for Guadalajara.

This article is a part of a collaboration with coolhuntermx.com. It was originally published under the title "Luis Barragán and José Clemente Orozco,The House They Built Together ", written and photograped by David Lozano Díaz in collaboration with Lorena Darquea.

There's a lot of discussion surrounding Casa Orozco as to who the real creator is —Luis Barragán or José Clemente Orozco. And even though we know that one of them was responsible for the architecture, the answer still remains unclear. Orozco returned to Mexico in 1934, by invitation from the Mexico City government, after a seven year stint in New York. Once he arrived, he was commissioned to paint a mural inside the Palacio de Bellas Artes. Afterwards, he received commissions from the Jalisco Government to paint a series of murals for three public buildings in Guadalajara.

In recent times, we tend to view the garden as a space typically filled with varied vegetation, possessing a certain beauty through its variety of colors, sizes, textures, and scents, found in our homes or, at the very least, in parts of the city. However, we rarely stop to ask ourselves questions or reflect on this place we consider ordinary. Since when have we been creating gardens? Do they influence our lives? Can they, in some way, reflect aspects of the society in which we live? Or what kind of gardens do we need today? These are just a few questions to consider.