ad classics: barcelona pavilion : mies van der rohe | archdaily
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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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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
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8/18/2019 AD Classics: Barcelona Pavilion : Mies van der Rohe | ArchDaily
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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!
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