Thus, Barde implies that a garden is a return to paradiseas Cetto mentions: «But its particular seal was to agglutinate the plants obeying, not to the dictation of their species but of their color, creating yellow spots, or pink, or orange spots, with a good environment from behind». Indeed, Barragán's country designs are the same as their structures: full of color.
In those years, the works of O'Gorman or Artigas had vegetation and gardens, but, without a doubt, Barragán's design stood out by the planning of a garden. They were cleaner spaces, less saturated with endemic species and accompanied the building, they were not random accessories.
For the sixties, there were already more green elements to their credit. Armando Maravilla tells us that at least Three creations by Luis Barragán, were already part of the history of architecture and landscaping In America: «He designed in GDL the Jardines del Bosque (1955–1961), the destroyed nursery and the groves (1958–1961) and collaborates with Louis Kahn in a California project in 1965».
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Landscaping is as intimate as architecture.
At least In Luis Barragán's work, the art of designing with plants was as deep as architecture of each house that embodied on paper and, later, built. Bettina Cetto writes in «Luis Barragán and his mastery with the gardens», of Binnacle that «Barragán's houses are rather intimateoverturned inland […] It seems to tell us that, apart from seeking beauty, it is important to attend to colors, weather, vegetation, topography, materials and the way of doing the things of the place».