Barcelona Pavilion
Encyclopedia
The Barcelona Pavilion , designed by Ludwig Mies van der Rohe
, was the German
Pavilion for the 1929 International Exposition
in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition. It was an important building in the history of modern architecture
, known for its simple form and extravagant materials, such as marble
and travertine
. During various times of the year, international contemporary art exhibitions are organized within the pavilion.
In the years following World War I
, Germany started to turn around. The economy started to recover after the 1924 Dawes Plan
. The pavilion for the Universal Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture. The Commissioner, Georg von Schnitzler said it should give "voice to the spirit of a new era". This concept was carried out with the realization of the "free plan" and the "floating room".
The pavilion was going to be bare, no trade exhibits, just the structure accompanying a single sculpture and purpose-designed furniture (the Barcelona Chair
). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe
sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.
Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the "Spanish Village". The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.
Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of Tinos verde antico marble
and golden onyx
as well as tinted glass of grey, green, white, as well as translucent glass, perform exclusively as spatial dividers.
Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed. However, thanks to black-and-white photos and original plans, a group of Spanish architects reconstructed the pavilion permanently between 1983 and 1986.
's Alba ("Dawn") in the small water basin, leaving the larger one all the more empty. The sculpture also ties into the highly reflective materials Mies used—he chose the place where these optical effects would have the strongest impact; the building offers multiple views of Alba. "From now on, in the sense of equality for juxtaposing building and visual work, sculptures were no longer to be applied retrospectively to the building, but rather to be a part of the spatial design, to help define and interpret it. To the day, one of the most notable examples is the Barcelona Pavilion".
Ludwig Mies van der Rohe
Ludwig Mies van der Rohe was a German architect. He is commonly referred to and addressed as Mies, his surname....
, was the German
Germany
Germany , officially the Federal Republic of Germany , is a federal parliamentary republic in Europe. The country consists of 16 states while the capital and largest city is Berlin. Germany covers an area of 357,021 km2 and has a largely temperate seasonal climate...
Pavilion for the 1929 International Exposition
1929 Barcelona International Exposition
The 1929 Barcelona International Exposition took place from 20 May 1929 to 15 January 1930 in Barcelona, Catalonia, Spain...
in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition. It was an important building in the history of modern architecture
Modern architecture
Modern architecture is generally characterized by simplification of form and creation of ornament from the structure and theme of the building. It is a term applied to an overarching movement, with its exact definition and scope varying widely...
, known for its simple form and extravagant materials, such as marble
Marble
Marble is a metamorphic rock composed of recrystallized carbonate minerals, most commonly calcite or dolomite.Geologists use the term "marble" to refer to metamorphosed limestone; however stonemasons use the term more broadly to encompass unmetamorphosed limestone.Marble is commonly used for...
and travertine
Travertine
Travertine is a form of limestone deposited by mineral springs, especially hot springs. Travertine often has a fibrous or concentric appearance and exists in white, tan, and cream-colored varieties. It is formed by a process of rapid precipitation of calcium carbonate, often at the mouth of a hot...
. During various times of the year, international contemporary art exhibitions are organized within the pavilion.
Concept
Mies was offered the commission of this building in 1928 after his successful administration of the 1927 Werkbund exhibition in Stuttgart. The German Republic entrusted Mies with the artistic management and erection of not only the Barcelona Pavilion, but for the buildings for all the German sections at the 1929 Universal Exhibition. However, Mies had severe time constraints—he had to design the Barcelona Pavilion in less than a year—and was also dealing with uncertain economic conditions.In the years following World War I
World War I
World War I , which was predominantly called the World War or the Great War from its occurrence until 1939, and the First World War or World War I thereafter, was a major war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918...
, Germany started to turn around. The economy started to recover after the 1924 Dawes Plan
Dawes Plan
The Dawes Plan was an attempt in 1924, following World War I for the Triple Entente to collect war reparations debt from Germany...
. The pavilion for the Universal Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture. The Commissioner, Georg von Schnitzler said it should give "voice to the spirit of a new era". This concept was carried out with the realization of the "free plan" and the "floating room".
Building
Mies's response to the proposal by von Schnitzler was radical. After rejecting the original site because of aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition's main attractions, the "Spanish Village".The pavilion was going to be bare, no trade exhibits, just the structure accompanying a single sculpture and purpose-designed furniture (the Barcelona Chair
Barcelona chair
The Barcelona chair was exclusively designed for the German Pavilion, that country's entry for the International Exposition of 1929, which was hosted by Barcelona, Spain...
). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe
Georg Kolbe
Georg Kolbe was the leading German figure sculptor of his generation, in a vigorous, modern, simplified classical style similar to Aristide Maillol of France.Kolbe was born in Waldheim ....
sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.
Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the "Spanish Village". The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.
Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of Tinos verde antico marble
Tinos
Tinos is a Greek island situated in the Aegean Sea. It is located in the Cyclades archipelago. In antiquity, Tinos was also known as Ophiussa and Hydroessa . The closest islands are Andros, Delos, and Mykonos...
and golden onyx
Onyx
Onyx is a banded variety of chalcedony. The colors of its bands range from white to almost every color . Commonly, specimens of onyx contain bands of black and/or white.-Etymology:...
as well as tinted glass of grey, green, white, as well as translucent glass, perform exclusively as spatial dividers.
Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed. However, thanks to black-and-white photos and original plans, a group of Spanish architects reconstructed the pavilion permanently between 1983 and 1986.
Sculpture
The Pavilion was not only a pioneer for construction forms with a fresh, disciplined understanding of space, but also for modelling new opportunities for an association of free art and architecture. Mies placed Georg KolbeGeorg Kolbe
Georg Kolbe was the leading German figure sculptor of his generation, in a vigorous, modern, simplified classical style similar to Aristide Maillol of France.Kolbe was born in Waldheim ....
's Alba ("Dawn") in the small water basin, leaving the larger one all the more empty. The sculpture also ties into the highly reflective materials Mies used—he chose the place where these optical effects would have the strongest impact; the building offers multiple views of Alba. "From now on, in the sense of equality for juxtaposing building and visual work, sculptures were no longer to be applied retrospectively to the building, but rather to be a part of the spatial design, to help define and interpret it. To the day, one of the most notable examples is the Barcelona Pavilion".
See also
- Ibero-American Exposition of 1929Ibero-American Exposition of 1929The Ibero-American Exposition of 1929 was a world's fair held in Seville, Spain, from the 9th of May 1929 until the 21st of June 1930. Countries in attendance of the exposition included: Portugal, The United States, Brazil, Uruguay, Mexico, Peru, Argentina, Chile, the Republic of Colombia, Cuba,...
was a world's fairWorld's FairWorld's fair, World fair, Universal Exposition, and World Expo are various large public exhibitions held in different parts of the world. The first Expo was held in The Crystal Palace in Hyde Park, London, United Kingdom, in 1851, under the title "Great Exhibition of the Works of Industry of All...
held in SevilleSevilleSeville is the artistic, historic, cultural, and financial capital of southern Spain. It is the capital of the autonomous community of Andalusia and of the province of Seville. It is situated on the plain of the River Guadalquivir, with an average elevation of above sea level...
, SpainSpainSpain , officially the Kingdom of Spain languages]] under the European Charter for Regional or Minority Languages. In each of these, Spain's official name is as follows:;;;;;;), is a country and member state of the European Union located in southwestern Europe on the Iberian Peninsula...
, from the 9th of May 1929 until the 21st of June 1930.