| ARCH 120 | April 26, 2014|

PRESEDENCE STUDY BARCELONA PAVILION

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Less is more

Ludwig van der Rohe

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Overview

Type Exhibition building

Architectural style *Modernism

Location Barcelona, Spain

Construction started 1928

Construction system steel frame with glass and polished stone

Completed 1929

Inaugurated May 27, 1929

Demolished 1930 (rebuilt in 1986)

Client Government of Germany

Architect Ludwig Mies van der Rohe

*Modern architecture or Modernist architecture is a term applied to an overarching movement, with its exact

definition and scope varying widely. The term is often applied to modernist movements at the turn of the 20th

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century, with efforts to reconcile the principles underlying architectural design with rapid technological

advancement and the modernization of society.

Introduction

Mies van der Rohe’s German Pavilion at the Barcelona Universal Exposition

pf 1992, known simply as the Barcelona Pavilion, was designed and built

some twenty years before his Farnsworth house.

The Barcelona Pavilion is one of the paradigmatic works of twentieth-

century architecture, universally recognized as an all-time masterpiece it

was designed in 1928 by German architect Ludwig Mies van der Rohe.

History of the pavilion

On visiting the Mies Van Der Rohe Pavilion, what you are witnessing is not

the original building, rather a re-construction of the one that was first

produced in 1929. However, the fact that the building has been

reconstructed so meticulously is a point of interest in itself.

It was designed as the German national pavilion for the Barcelona

International Exhibition. The German Pavilion was an exposition

showcasing examples of architecture from around the world. The Pavilion's

position was chosen by Ludwig Mies Van Der Rohe as it led to the Palace. It

was the official reception place for the arrival of King Alphonso XII to the

exposition.

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 International Exhibition. However, Mies had severe time

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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, Germany started to turn around. The

economy started to recover after the 1924 Dawes Plan. The pavilion for the

International 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 German Pavilion before demolishing

Concept

The main idea or concept Ludwig Mies van der Rohe employed in the

designing of the German Pavilion is “less is more.” This is expressed using

the least amount of components and resources but they emit multiple

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situations, a fluid organizational sequence and functional spaces,

highlighted by sets of orthogonal planes and traditional pure elements.

The pavilion’s design is based on a formulaic grid system developed by Mies

that not only serves 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.

Ludwig Mies van der Rohe got his idea from the works of Frank Lloyd

Wright which was made earlier twenty years earlier, so he taught of the

rectilinear spaces whose forms were fully defined i.e. the joining of forms (a

rectangle), so that they formed an open plan, which makes the interior and

exterior of the pavilion the same way, thus making it clear to him that less is

more that is the attention to the reductive detail makes the work a fine

finish.

*travertine; a light, porous form of limestone or calcite deposited from solution, and sometimes

quarried for building

Concept of the paviloin

.

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Breakdown of elements in the pavilion

Breakdown of space and functions

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The Building

Mies wanted the pavilion 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 Poble Espanyol. The

visitors were not meant to be led in a straight line through the pavilion, but

to take continuous turnabouts. The walls did not only create 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 marble and

golden *onyx as well as tinted glass of grey, green and white, as well as

translucent glass, perform exclusively as spatial dividers. Glass, travertine,

marble, onyx and steel were his only few choices. As far as colors selection,

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Van Der Rohe let the natural materials speak for themselves and added only

black rug and red curtains in one area of the pavilion which not only

contrast with one of the yellow walls but has political statement as well

showing German colors and highlighted the unique complexity of the

pavilion.

*Onyx; greyish translucent quartz with alternating black and white bands used in making

engraving or carving in low relief on a stone.

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Structure

The structure is created with eight steel pillars in a cross holding a flat roof.

Complete the work a relieved from large glass structure and interior walls.

The regular grid system developed by Mies not only serves as a pattern for

laying travertine pavers , but also serves as an underlying framework of

working systems for interior walls.

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Steel column in the pavilion

By raising the flag on a pedestal along with the narrow section of the site, the

horizontality of the building is accentuated. The Barcelona Pavilion has a low

horizontal orientation that is accentuated with too low flat roof that seems to

float both inside and outside. This character is reinforced by the large

overhang of the roof and the lightness of the steel columns that relate these

levels and create an effect of weightlessness. The Pavilion define their spaces

by orthogonal set of offset planes, the walls are arranged so as to generate an

absolute spatial fluidity inside the building. Large windows draw the

continuous outer boundary, thus declaring transparency, the idea of freedom

and progress that reflect the German Republic was seeking at the time.

Section through column in the pavilion

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Roof

Every aspect of the German Pavilion has architectural significance that can

be seen in the advent of modern architecture in the twentieth century,

however, one of the most important aspects of the pavilion is the roof. The

low profile of the cover appears in elevation as a plane floating above the.

Interior volume. The appearance of floating gives the volume a sense of

weightlessness that fluctuates between the housing and the cover.

The roof is supported by eight slender cruciform columns that allow you to

transmit the sensation of floating on the volume while freeing the interior to

allow an open floor plan. Between indoor and projected outward opening

canopy, a blurred spatial demarcation where inside becomes outside and

outside to inside is created.

Materials

For the reconstruction of the pavilion glass, steel , reinforced concrete and

four different types of marble , Roman travertine , green Alpine marble ,

ancient green marble from Greece and doré onyx Atlas in Africa were used ,

all with the same characteristics and provenance, as originally used by Mies.

The stunning piece of golden onyx placed in the main space significantly

more expensive to build, becoming the focus of attention for visitors,

not only for its size and thickness, and also for his colourful drawing.

Marble

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Together with the design, the materials are what give the Pavilion its true

architectural essence and the ethereal and experimental qualities that the

pavilion embodies. The application gives the marble Mies created through

separción process called “pinning " which creates a symmetric partition,

which is already in the material. However, the materials used in this case is

the Italian travertine that wraps the socket and exterior walls near the water

surface. When exposed to the sun, the travertine is illuminated as if it had a

secondary light source that dissolves the natural stone and full of light on

the space. These bright qualities inherent in travertine, and the use of

material without cracks in the outer socket added to the solution of the

territorial demarcation transforming the pavilion into one continuous

volume rather than two separate entities.

The canopy is supported on a base of classical Roman travertine marble, a

material that is repeated throughout the front yard, both on the floor, the

walls and the long bench that runs around the wall parallel to the pond. The

basis of this liquid mirror is covered with boulders.

The glass and steel give frame and cover the walls built with large blocks of

marble, which themselves become the "work of art " pavilion , with its

gorgeous colors and patterns. Almost pure minimalist shapes and design

features available. The eight cruciform pillars are covered in chrome. Flat

cover was made with reinforced concrete.

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The four chairs minimalist interior decorating space resting on a black

carpet that highlights the colours, and are protected by a large red silk

curtain.

Georg Kolbe sculpture

The sculpture decorating the pond located in the backyard of the pavilion is

a bronze reproduction of Georg Kolbe Dawn by contemporary artist to Mies

van der Rohe.

It is brilliantly located at one end of the small pond, at a point where not

only reflected in water but also in marble and crystals, giving the feeling that

is multiplied in space and contrasting curved lines with geometric purity the

building. The image of the statue is projected multiple times on water

reflections, crystal or marble.

Spaces

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The overall impression is of a luxurious space created by perpendicular

planes in three dimensions. Complete the work of Georg Kolbe sculpture ,

consisting of little furniture chairs, with a design by the architect himself ,

called Barcelona chair , an important milestone in the history of twentieth

century design furniture , a red curtain and became black carpet , which

combined with the color beige marble wall , make the colors of the German

flag .

The low rise building close line of sight of the visitor, forcing suit the views

framed by Mies. The interior of the pavilion is composed of places created

by the walls that work together with the low roof planes to stimulate

movement and to turn the architectural promenade Mies, in which framed

views will induce movement through the narrow passage that opens at a

higher volume. This cyclic process of moving through the joint flag starts a

process of discovery and rediscovery during the experience, always offering

new perspectives and details that were previously invisible.

Inside the pavilion can identify three areas:

The front yard, defined by the area of access and where the water

body is located. Here is an interesting relationship between the

opacity of the walls, the reflection of the water and the transparency

of the glass pavilion, a corner that marks the entrance to the site is

created. In the opposite corner is a small enclosure services.

The built kernel, determined by the planes of the walls built with

different materials, while maintaining control of the view through the

management of the opacities, transparencies and empty.

The backyard. This enclosed by walls and the presence, again, of a

body of water on which the statue Alba, by Georg Kolbe is.

The pavilion is designed as a proportional composition in which the interior

water two juxtaposed mirrors. The mirror over pequeñao water just behind

the interior space allowing light to filter through the interior volume,

illuminating the marble and travertine pavers. The mirror largest surface

water to supplement the volume, and extending through the rest of the

plane outside. Its sleek lines establish a place of solitude and reflection.

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Glass, steel and four different types of marble (Roman travertine, green

marble from the Alps, ancient green marble from Greece and onyx doré

Atlas) were the materials used in reconstruction. All of the same

characteristics and origin as those used initially in 1929.

Barcelona chair

Although many architects and furniture designers of the Bauhaus era were

intent on providing well-designed homes and impeccably manufactured

furnishings for the "common man," the Barcelona chair was an exception. It

was designed for the Spanish Royalty to oversee the opening ceremonies of

the exhibition.The form is thought to be extrapolated from Roman folding

chairs known as the Curule chair – upholstered stools used by Roman

aristocracy. And despite the industrial appearance the Barcelona chair

requires much hand craftsmanship.

The Barcelona chair is a chair designed by Ludwig Mies van der Rohe and

Lilly Reich. It was originally designed for the German Pavilion, that

country's entry for the International Exposition of 1929, which was hosted by

Barcelona, Spain. It was first used in Villa Tugendhat, a masterpiece of Mies

van den Rohe in the City of Brno (Czech Republic).

The frame was initially designed to be bolted together, but was redesigned

in 1950 using stainless steel, which allowed the frame to be formed by a

seamless piece of metal, giving it a smoother appearance. Bovine leather

replaced the ivory-colored pigskin which was used for the original pieces.

The Barcelona chair was manufactured in the US and Europe in limited

production from the 1930s to the 1950s. In 1953, six years after Reich's death,

van der Rohe ceded his rights and his name on the design to Knoll, knowing

that his design patents were expired. This collaboration then renewed

popularity in the design.

Knoll claims to be the current licensed manufacturer and holder of all

trademark rights to the design.

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Artist impression of the Barcelona chair

Natural lighting

The building is open plan and minimal in design, composed of horizontal

planes that appear to float and divided by vertical planes of marble and glass

that seem almost free-standing.

The juxtaposition of natural marble and man-made materials means it’s not

only a great feat of design, but also a master class in defining space through

the medium of light. Due to high specular reflectance, the solid marble often

appear transparent, while the shallow pools merge the building with its

natural surroundings.

At night, a large light box that forms part of the external glazing lights the

space. Formed of two layers of milky-white glass, with fluorescent light

between, it produces a mystical luminous wall. Mies's creation can be

described as a harmonious play of light, integrating all forms of light

propagation-reflection, transmission, diffusion, emission and refraction.

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The Barcelona Pavilion shows how to define space through light

Circulation

Even though it’s visually a simple floor plan its complexity comes from the

strategic layout of walls. Unforced direction of visitor’s movements

throughout the space happens naturally without clear knowledge of the

visitor. Walls are not there as bare structural support but rather spatial

dividers and “directors” of the space.

Circulation (routing) in the pavilion

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Hierarchy

The hierarchy shows the main roof to be the highest part of the building

adding to the dominance that the roof provides to the pavilion.

Balance and symmetry

The pavilion is both almost completely symmetrical in its overall layout. The

symmetry lies upon the center of the plan and helps to accent the

rectangular layout and how it is balance on both sides of that center by the

use of seating area that is an additional outcrop of the building (the

positive) and the empty space that leads you up the stairs to the pavilion

( the negative). If you were to fill in or take away one of these elements the

pavilion would lose its sense of balance.

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The only part of the building that would be considered asymmetrical is the

placement of the walls that break up the interior of the pavilion.

Balance

Form (additive and subtractive)

The additive and subtractive shows another state of balance within the

pavilion, the roof structure is the addictive part of the whole of the pavilion

while the reflecting pools are the subtractive part that counterbalances the

additive parts. However, even with this balance the pavilion feels more

additive than subtractive due to the addition and importance the roof plays

to the structure.

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Subtractive pool of the pavilion

Additive roof of the pavilion

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Parti

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About the Architect

Ludwig Mies van der Rohe

Born

Maria Ludwig Michael Mies

March 27, 1886

Aachen, Kingdom of Prussia, German

Empire

Died August 17, 1969 (aged 83)

Chicago, Illinois, U.S.

Nationality German (1886–1944), American (1944–1969)

Awards Order Pour le Mérite (1959)

Royal Gold Medal (1959)

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AIA Gold Medal (1960)

Presidential Medal of Freedom (1963)

Buildings

Barcelona Pavilion

Tugendhat House

Crown Hall

Farnsworth House

860–880 Lake Shore Drive

Seagram Building

New National Gallery

Toronto-Dominion Centre

Westmount Square