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  • 8/18/2019 AD Classics: Barcelona Pavilion : Mies van der Rohe | ArchDaily

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    As part of the1929 International Exposition in Barcelona Spain, the Barcelona Pavilion,

    designed by Mies van der Rohe, was the display of architecture’s modern movement to the

    world. Originally named the German Pavilion, the pavilion was the face of Germany after

    WWI, emulating the nation’s progressively modern culture that was still rooted in its

    classical history. Its elegant and sleek design combined with rich natural material presented

    Mies’ Barcelona Pavilion as a bridge into his future career, as well as architectural

    modernism.

    More on the Barcelona Pavilion after the break.

    After several architectural triumphs in Germany, Mies was commissioned to design the

    German Pavilion for the International Exposition in Barcelona, Spain. The pavilion was

    intended to be the face of the German section that would host King Alphonso XIII of Spain

    and German officials at the inauguration of the exposition. Unlike other pavilions at the

    World

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  • 8/18/2019 AD Classics: Barcelona Pavilion : Mies van der Rohe | ArchDaily

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    exposition, Mies understood his pavilion simply as a building and nothing more, it would not

    house art or sculpture rather the pavilion would be a place of tranquility and escape from the

    exposition, in effect transforming the pavilion into an inhabitable sculpture.

    Situated at the foot of the National Art Museum of Catalonia and Montjuic, the Barcelona

    Pavilion resides on a narrow site in a quiet tucked away corner secluded from the bustling

    city streets of Barcelona. Raised on a plinth of travertine, the Barcelona Pavilion separates

    itself from it context create atmospheric and experiential effects that seem to occur in a

    vacuum that dissolves all consciousness of the surrounding city.

    The pavilion’s design is based on a formulaic grid system developed by Mies that not onlyserves as the patterning of the travertine pavers, but it also serves as an underlying

    framework that the wall systems work within. By raising the pavilion on a plinth in

    conjunction with the narrow profile of the site, the Barcelona Pavilion has a low horizontal

    orientation that is accentuated by the low flat roof that appears to float over both the interior

    as well as the exterior.

    The low stature of the building narrows the visitor’s line of vision forcing one to adjust to the

    views framed by Mies. When walking up onto the plinth, one is forced under the low roof

    plane that captures the adjacent outdoor court as well as the interior moments that induce

    circulation throughout the pavilion. The interior of the pavilion consists of offset wall places

    that work with the low roof plane to encourage movement, as well as activate Mies’

    architectural promenade where framed views would induce movement through the narrow

    passage that would open into a larger volume. This cyclical process of moving throughout

    the pavilion sets in motion a process of discovery and rediscovery during ones experience;

    always offering up new perspectives and details that were previously unseen.

    Every aspect of the Barcelona Pavilion has architectural significance that can be seen at the

    advent of modern architecture in the 20th Century; however, one of the most important

    aspects of the pavilion is the roof. The low profile of the roof appears in elevation as a

    floating plane above the interior volume. The appearance of floating gives the volume a

    sense of weightlessness that fluctuates between enclosure and canopy. The roof structure

    http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/bcn-pavilion_wojtek-gurak3/http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/barcelona_pavil_plan_2/http://www.archdaily.com/547904/jump-off-a-cliff-and-land-in-bed-in-this-edgy-australian-home/http://www.archdaily.com/544119/the-long-brick-house-foldes-architects/http://www.archdaily.com/546867/video-bjarke-ingles-on-promiscuous-hybrids-and-worldcraft/http://www.archdaily.com/544885/from-friends-to-frasier-13-famous-tv-shows-rendered-in-plan/http://www.archdaily.com/431742/how-much-will-it-cost-to-start-my-own-architecture-firm/http://www.archdaily.com/category/selected/

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    © Flickr User: wotjek gurak

    © Greg Kristo

    is supported by eight slender cruciform columns that allow the roof to as effortlessly floating

    above the volume while freeing up the interior to allow for an open plan. With the low roof

    projecting out over the exterior and the openness of the pavilion, there is a blurred spatial

    demarcation where ht interior becomes and exterior and exterior becomes interior.

    The pavilion is designed as a proportional composition where the interior of the pavilion is juxtaposed to two reflecting pools. The smaller reflecting pool is located directly behind the

    interior space which allows for light to filter through the interior volume as well illuminate the

    marble and travertine pavers. The larger, shallow reflecting pool compliments the volume

    as it stretches across the rest of the plinth. Its elegance and sleek lines establish a place of

    solitude and reflection.

    In addition to the design, the materials are what give the Barcelona Pavilion its true

    architectural essence as well as the ethereal and experiential qualities that the pavilion

    embodies. The pavilion meshes the man-made and the natural employing four types of

    marble, steel, chrome, and glass. The marble originates from the Swiss Alps and the

    Mediterranean. Mies’ implementation of the marble is created through a process of splitting,

    called broaching, that creates a symmetrical patternization that’s found in the marble.

    However, the most used material is the Italian travertine that wraps the plinth and the

    exterior walls adjacent to the reflecting pool. When exposed to the sun, the travertine

    becomes illuminated almost as a secondary light source that dissolves the natural stone

    and washes the light over the space. The travertine’s inherent luminous qualities as well as

    Mies’ seamless employment of the material over the plinth adds to the dissolution of spatial

    demarcation transforming the pavilion into one continuous volume rather than two separate

    entities.

    In 1930, the original Barcelona Pavilion was dismantled after the International Exposition

    http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/dsc05225/http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/bcn-pavilion_wojtek-gurak5/

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    © Flickr User: wotjek gurak © Flickr User: wotjek gurak © Flickr User : wotjek gurak

    © Flickr User: wotjek gurak © Flickr User: wotjek gurak © Flickr User : wotjek gurak

    © Flickr User: wotjek gurak © Flickr User: wotjek gurak © Flickr User : wotjek gurak

    © Greg Kristo

    was over; however; in 1983 a group of Catalan architects began working on rebuilding the

    pavilion from photographs and what little salvaged drawings that remained. Today it is open

    daily and can be seen in the same location as in 1929.

    Architect: Mies van der Rohe

    Location: Barcelona, Spain

    Project Year: 1929

    Photographs: Greg Kristo, Flickr User: gandolas, Flickr User: wojtek gurnak

    References: wikiarquitectura, greatbuildings

    08FEB

    2011

    by Andrew Kroll

    AD Architecture Classics  CulturalExhibition  Monuments and

    emorials  Pavilion  Barcelona  Miesvan der Rohe  Modernism  Spain

     

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  • 8/18/2019 AD Classics: Barcelona Pavilion : Mies van der Rohe | ArchDaily

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    Cite:

    Kroll, Andrew. "AD Classics: Barcelona Pavilion / Mies van der Rohe" 08 Feb 2011. ArchDaily. Accessed 18

    Sep 2014.

    11 comments

    ricky o

    Peter Guthrie o

    Dan

    o

    Wojtek Gurak o

    simondroog o

    Ralph Martin Architect o

    © Flickr User: gondolas © Flickr User: gondolas © Greg Kristo

    © Greg Kristo © Greg Kristo © Greg Kristo

    © Greg Kristo © Greg Kristo plan

    Reply

    I wish the photos weren’t so over-processed.

    Reply

    arrrggghhh my eyes!

    Reply

    Some of Peters renders look less processed than these photos!

    Reply

    actually, I wish Andrew didn’t dig out such old pics from my flickr archives. Did them over 2years

    ago and I totally agree that they’re over-processed. like everyone, i improve with practice and experience.

    Since then, I’ve recently redeveloped some of them in a more appropriate manner, which I refer you to at

    http://www.flickr.com/photos/wojtekgurak/tags/barcelonapavilion/ 

    Reply

    Still love this pavilion: the elegance, proportions and minimalist design. Humans have an affinity for

    (a certain level of) order and feel proportions of the space

    (http://experiencingarchitecture.com/2010/10/28/scale-and-proportion/ )

    Awesome photography & article!

    546

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