Right before us stands the Chapel of the Capuchinas. This chapel is a testament to the enduring power of faith and architectural vision. It is indisputably one of Luis Barragán’s seminal architectural works.
Barragán offered his services in 1954. He provided financial support for the chapel’s construction. It was for the monastic order of the Clarisas Capuchinas Sacramentarias del Purísimo Corazón de María. This religious community resides in Tlalpan. Tlalpan was a village south of Mexico City. It was later absorbed into the urban sprawl.
The commission appealed to Barragán’s religious beliefs. He had a profound interest in ecclesiastical architecture. He was also interested in religious art. The convent complex was developed in phases. These included the reorganization of a colonial building. Also there was the construction of a new chapel. An extension toward the rear of the plot was made.
An existing colonial house stood at the front of the plot. The plot measured twenty-seven by ninety meters. The first proposal combined two longitudinal wings. They were along the lateral boundaries. The planned chapel and refectory defined two inner gardens. A vegetable patch was to occupy the southern side of the plot. Barragán modified the chapel’s orientation. He changed entrance points and circulation patterns. He transformed the gardens into paved patios.
The chapel’s rectangular nave was expanded. A lateral space was added. This space was partially screened by a protruding wall. In later plans, this wall evolved into a sophisticated visual device. It is called the quilla or keel. The keel consists of a prismatic triangular volume. It is formed by two walls. They are joined at an acute angle. The keel splayed the rectangular footprint of the adjoining space. This contributed to a dynamic visual composition. Both the lateral and main naves converge toward the altar.
Barragán refined the design during construction. The chapel was consecrated on April 24, 1960. Further details were implemented over the next several years. They likely reached completion around 1963. Barragán relied on advice from artists. Jesús “Chucho” Reyes shared his interest in religious art. Mathias Goeritz contributed key elements. He designed the full-height stained glass window in the lateral space.
The massive reredos is the focus of the liturgical space. It is a wooden triptych fixed to the back wall. It is covered with gold leaf. It reflects light from the choir window. The altar is a monolithic rectangular prism of concrete. It has a frontal wood panel covered in gold leaf. Its position was pushed forward. This followed the Second Vatican Council’s directives. The yellow-stained glass produces luminous reflected light. It intensifies the orange hue of the surrounding walls. A freestanding cross is positioned between the presbytery and the lateral space. It is painted orange. The cross appears dematerialized. Its presence is revealed by the incident light.
The flooring pews and confessionals are made of varnished pine planks. The windows and doors also are made of varnished pine planks. The furnishings are simple. They are inspired by Franciscan austerity. Barragán designed them. His master carpenter manufactured them.
A patio paved in lava stone leads to the chapel. The tall exterior wall is plastered in white lime. It bears the relief of a full-height cross. Opposite the cross is a cuboid fountain. It is made of concrete and painted black. It mirrors the lattice and the bright color of a bougainvillea.
The community areas of the convent are at the back of the plot. They include the kitchen and refectory on the ground floor. The upper level featured a continuous access balcony. It was originally occupied by the dormitories. It was later transformed into workspaces.
Barragán’s unusual status allowed him to influence many aspects of the environment. He conceived the furnishings. He selected the tableware. He designed the altar cloths in coarse linen. Also he designed the chasubles and capes in woollen fabric. This project is a Gesamtkunstwerk. It is an all-encompassing vision of contemporary religious architecture.
The transcendent nature of the Capuchin Convent Chapel is palpable. The nuns continue to watch over this work of faith and architecture.