I recently read a fascinating article in The New Yorker titled The Architect Who Became a Diamond. It tells the story of Mexican architect Luis Barragán, whose remains were transformed into a diamond by conceptual artist Jill Magid.

It is a deeply intriguing and, at the same time, profoundly sad story.

The archive is said to contain thirteen and a half thousand drawings, seventy-five hundred photographic prints, eighty-two photographic panels, seventy-eight hundred slides, two hundred and ninety publications concerning Barragán’s work, fifty-four publications collected by Barragán, seven files of clippings, seven architectural models, several files of manuscripts, notes, lists, and correspondence, and also pieces of furniture and other objects.