Page 162 - Libro Max Cetto

In Cetto’s Proximity Bettina Cetto

of these migrant workers from the countryside. From then on, he would always discuss
Mexican architecture in connection to those who build it. He did earn what he asked for
in the afternoons, as Luis Barragán also immediately gave him work, bringing him projects
to design at home. Cetto designed and drew for him during this first stage, and after a few
indications from Barragán, he would propose and design the spaces.
As Susanne Dussel emphasizes, the only work of this early period in which Barragán
credits Cetto as a collaborator is the aforementioned building located at Melchor Ocampo
8
38, whose illustrious residents included the artist Juan Soriano and the Cuban-born desig-
ner Clara Porset.

Fig. 1 Original plan for the artists’ building, Melchor Ocampo 38, 1939. © Archivo Max Cetto, UAM Azcapotzalco, Mexico.

8 She further underlines that “the piece of land on which this building rests is very irregular and narrow, yet Max Cetto
managed to project a building that, in addition to perfectly meeting the demands of functional architecture, is of outstan-
ding spatial quality.” Susanne Dussel, Max Cetto (1903-1980), 143.

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