journal
Photography: Luis Garvan
12 / 08 / 2026
In Mexico City, PPAA conceives Casa Plan de Barrancas through an elementary yet decisive operation: opening the base to the landscape and concentrating intimacy within a suspended volume. Between the two, a void is established that is not residual, but rather the true organising principle of the dwelling.
The project emerges from a careful reading of the site. The vegetation, the relationship with the street and, above all, the presence of a large jacaranda become active agents in defining the architecture. The ground floor, intended for social life, is conceived as an open and permeable plane, extending towards the garden. A large planted bed integrated into the volume allows the vegetation to pass through the house and extend visually towards the street.
This relationship is reinforced by the reflective cladding of the base, which mirrors the surrounding environment and reduces its presence as a built object. The entrance and garage become secondary, while the upper volume appears to rest upon a continuous vegetal surface. The house thus ceases to assert itself as an object and instead becomes a spatial condition.
In contrast, the two upper floors concentrate the private spaces within a solid, opaque and restrained body. Openings are reduced and carefully positioned, establishing a clear distinction between the collective dimension, open to the landscape, and the intimate realm, which remains protected.
The presence of the jacaranda also determines the displacement of the upper volume, creating a terrace. From this gesture emerges a central idea of the project: the void can be as architecturally significant as the built matter itself. The tree prompts the displacement, the displacement produces the void, and the void becomes inhabitable space.
Inside, distinct materials reinforce this duality. Natural render and marble extend the continuity between interior and exterior, while timber introduces a warmer atmosphere to the private spaces. At the same time, solutions such as solar panels and the selection of materials with a lower carbon footprint integrate sustainability into the very logic of the construction.
The house can therefore be understood as a composition of forces: a base that seeks to dissolve itself, a volume that asserts its presence, a tree that reconfigures the geometry, and a void that, between them all, becomes a place.
This relationship is reinforced by the reflective cladding of the base, which mirrors the surrounding environment and reduces its presence as a built object. The entrance and garage become secondary, while the upper volume appears to rest upon a continuous vegetal surface. The house thus ceases to assert itself as an object and instead becomes a spatial condition.
In contrast, the two upper floors concentrate the private spaces within a solid, opaque and restrained body. Openings are reduced and carefully positioned, establishing a clear distinction between the collective dimension, open to the landscape, and the intimate realm, which remains protected.
The presence of the jacaranda also determines the displacement of the upper volume, creating a terrace. From this gesture emerges a central idea of the project: the void can be as architecturally significant as the built matter itself. The tree prompts the displacement, the displacement produces the void, and the void becomes inhabitable space.
Inside, distinct materials reinforce this duality. Natural render and marble extend the continuity between interior and exterior, while timber introduces a warmer atmosphere to the private spaces. At the same time, solutions such as solar panels and the selection of materials with a lower carbon footprint integrate sustainability into the very logic of the construction.
The house can therefore be understood as a composition of forces: a base that seeks to dissolve itself, a volume that asserts its presence, a tree that reconfigures the geometry, and a void that, between them all, becomes a place.
For more information, visit PPAA website.


