BEAUTY

FUNCTIONALITY

MATERIALS

STRUCTURE
HOW DOES THE BARCELONA PAVILION EXPRESS THE IDEAS OF MIES VAN DER ROHE
REGARDING BEAUTY, FUNCTIONALITY, MATERIALS AND STRUCTURE?

Barcelona Pavilion-The creation of Ludwig Mies Van Der Rohe was a part of
International Exposition in Barcelona, Spain, that took place in the year of 1929. The
pavilion was built to showcase the German national progress, prosperity, history and
nation’s progressively modern culture that was still rooted in its classical history. It was
built to give the world the essence of Germany after WWI. This contemporary pavilion
was designated to host the official reception presided over by King Alphonso XIII of
Spain along with the German officials.

The Barcelona Pavilion is an open book of Modern architecture and has become a
fundamental symbol of modernist 20th century architecture, including open-plan
spaces, balance, symmetry, accurate proportion and moderate structure. Mies Van
Der Rohe’s minimal and clean design turned Barcelona pavilion into an architectural
landmark, reaching a new altitude for Modernism.

As opposed to other pavilion at the exposition, Mies comprehended his pavilion as a

structure with sculptural aspect and nothing considerably more. It would not house any
artworks or sculpture instead the pavilion would end up being a host to peace,
harmony and escape from the exhibition, as a result Mies ended up transforming the
pavilion into a inhabitable sculpture.

Ludwig Mies Van Der Rohe used to say “Less is more” which he explicitly reflected
through the minimal design of Barcelona pavilion. One of the best minimally designed
architectures of Mies Van Der Rohe, considered as an exquisite example of Modern
architecture. Its neat and elegant design mixed with rich natural materials offers Mies
as an extension closer to his professional destiny within the architectural modernism.
Blended with materials of glass, metal and lavish marble, typically the same top
features of modernism can easily be applied to the particular prestigious furniture
specially designed for the iconic building, among which the iconic Barcelona chair.

“
“
Ludwig Mies Van Der Rohe is considered as the pioneer of modern architecture. He
always endeavored to create an architecture with minimal design, stated with extreme
simplicity and clarity. Minimal framework of the Barcelona pavilion along with the
beauty, materials functionality and structure express the ideas of Mies Van Der Rohe
with extreme clarity and elaborately.

Beauty

The site of the Barcelona pavilion is one of the major beauty features which has
enhanced the beauty of the pavilion. The surroundings of the site and all its feature
and beauty complement the asymmetric qualities of the structure. The location of the
site was at the termination of the plaza, directly opposite of Spain’s own National
Pavilion and was selected by Mies Van Der Rohe himself with great providence. Mies’
choice of site permitted the pavilion to get integrated into the path of journey, guests
would wander through the pavilion on their way to the following display. Whilst drawing
close the pavilion the traveler would be compelled to change the course from the linear
route they had probably followed through the complete exhibition, entering rather to
the right of the primary axis. By means of setting the pavilion on a elevated podium
Mies has created a impression of arrival and grandeur, just as a change of spatial
characteristics, making the guest mindful that they are entering a definitely
extraordinary condition from whence they came.
 Figure( 1,2): site and surroundings

The pavilion’s layout is primarily based on a formulaic grid framework evolved with the
aid of Mies that not just fills in as the designing of the travertine pavers, however it
likewise fills in as a hidden structure that the divider frameworks work inside. The
Barcelona Pavilion has a low lateral orientation that is complemented by the low-level
roof that seems to glide over both the interior just as the exterior. The low stature of
the building limits the guest's line of vision compelling one to adjust in accordance with
the perspectives confined by Mies. The interior of the pavilion includes offset wall
locations that functions with the low roof plane to encourage movement, just as initiate
Mies' building promenade where framed view would incite development through the
tight entry that would open into a bigger volume. This cyclic manner of moving all
through the building gets under way a procedure of disclosure and rediscovery during
one’s experience; continually presenting new viewpoints and details that were already
unprecedented.

Figure (3,4): entrance, viewport and grid formation

The low profile of the roof shows up in height seems as a floating plane over the interior
volume. This impression of floating gives the volume a very nice sense of
weightlessness. The roof of the pavilion rests on eight cruciform columns made of
steel that permit the roof to as easily gliding over the volume while opening up the
inside space which results of an open plan.

Figure (5,6,7): floating roofs

The design composition of the pavilion is finely proportional in which the interior of
the pavilion is placed in between two reflecting pools. The smaller reflecting pool
is placed directly in the back of the indoors area and the larger pool situated at the
exterior part of the pavilion and it stretches across the rest of the plinth. The interior
smaller reflecting pool takes light into account to channel through the interior space
which enlighten the marble and give it a divine appearance.

Figure (8,9,10,11,12): outdoor and indoor pool

Functionality

Barcelona pavilion was not intended to showcase the works of Germany rather it was
built to showcase the German national progress, prosperity, history and nation’s
progressively modern culture that was still rooted in its classical history and to make
a bold statement of new Germany. It was built to give the world the essence of
Germany after WWI. This contemporary pavilion was designated to host the official
reception presided over by King Alphonso XIII of Spain along with the German
delegates and this is to be considered as the only practical function of this pavilion.
The pavilion was a contemporary structure and sadly dismantled after the exposition
and the materials were sold. This landmark architecture received few attentions during
its brief time of existence but it remained as a symbol of Modern Movement all
through the 20th century.

With few functionalities, the format of the building consists of a single-story, horizontal
volume, with numerous interconnected spaces. The spatial arrangement is
outstanding and clearly characterized. There aren't any closed rooms, but the layout
of partitions and glass panels guides the guests and almost set their course inside the
house.

The travertine plinth of the pavilion is raised up to eye level. So, the Barcelona Pavilion
isolates itself from its context to make atmospheric and experiential impacts that
appear to happen in a vacuum that disintegrates all awareness of the encompassing
city."

The pools residing within the pavilion have no function but more aesthetic purpose.
The water of the pool reflects the lights illuminated by sun, moon and artificial lighting
which produce glittering and sparkling effect. The reflected light enlighten the marble
and the interior space and give it sense of spirituality and divinity. The design of the
pools were intended to contrast each other, as the larger one was open and it stretches
across the immense part of the plinth and its surface was constantly wrinkled by the
blowing breeze. The smaller pool, encased by the tall stone wall, controls the
quantity of daylight and creates a moody and shady space. Including the reflecting
quality of water in the indoor and outdoor space it has given the interior and exterior
space a nice integrated appearance. This appearance made it difficult to define interior
from exterior making some expert believe that the pavilion has no interior, or that its
interior is an exterior.
 Materials

The fascinating and the exotic materials are another unique characteristic of the
building. Mies designed the building in a very simple and minimal style at the same
time he tended to bring complexity within the materials he used. The materials
provided the pavilion its real essence of architecture in addition to the heavenly and
experiential attribute that the pavilion embodies. The exotic and fascinating features
of the materials made the pavilion minimal yet so detailed architecture.

Materials that were used are very rich and beautiful. Mies sense of selecting material
made the pavilion look more colorful which worked in harmony with trees and plants
of the conservatory place surrounded the pavilion and made it a intimate part of it.
Materials that were used:

• 4 shades of Marble
• Onyx
• Travertine
• Granite
• Glass
• Steel
• Water

Material that is mostly used is the Italian travertine. The plinth is bound with the
travertine and also wraps the wall adjacent to the reflecting pool. When exposed to the
sun, the golden rays enlighten the travertine making the plinth a illuminated plane and
the glitter washes over the space

Travertine
Mies van der Rohe was very specific and particular about the selection, usage and
placement of different materials. As there was no enclosed room at the interior, a
generous measure of the design procedure was committed to the exploration of
cladding alternatives for the main inside segment, referred to as floating wall.
Declining to settle upon a material for this critical component, Mies at last chose a slab
of golden onyx, and it was around this piece the remainder of the Pavilion emerged,
as its size directed the elevation of the space (3.10 meters). As the stature of the
structure was dictated. Mies implemented the marble in a very fine technique, created
through a procedure of splitting, referred to as broaching. This procedure creates a
symmetrical patternization that’s found in the marble.

Onyx wrapped wall

Another stunning material was the green granite which was used in the wall enclosing
the indoor pool. The natural color and quality of the granite made the environment
more likely the nature.

Green granite wrapped wall

The roof of the pavilion rests on eight cruciform columns made of chromed steel, which
gives the pavilion more elegant look. The usage of steel and glass in Barcelona
pavilion express the impact of industrial revolution in architecture. These materials
refer to the introduction of modern materials in modern architecture. Mies wanted to
give a sense of reflectivity in his design using materials. So, Mies chose these highly
polished chromed coated steel columns due solely to their reflectivity. The usage of
glass as peripheral wall also gives a sense of transparency.

chromed steel cruciform column and steel framed glass

Structure

The structure of the pavilion is very simple, minimal and moderate. Mostly made of
simple steel frame the building is a burning example of modern architecture and it
shows the impact of industrial revolution in architecture. The structure of the pavilion
highly expresses the technological advancement of that period and of Germany.

The roof of the pavilion rests on eight cruciform columns made of chromed steel, which
gives the pavilion more elegant look. The roof is made of this metal sheet and concrete
and a layer of stucco painted white covers the roof.

Concrete also used to build the vertical planes such as the partition wall and peripheral
walls. Use of transparent and frosted glass framed with metal steel refers to the
supreme use of technological advancement of the era.
Summary

The Barcelona Pavilion, even as stunning in its simplicity, holds a lot more complexity
than meets the eye. Mies tried to make a dynamic, as opposed to static, experience
that was dynamic and lively in each measurement. From the awesome forms all the
way down to the discreet details, every piece plays a function in the notion of the
whole. Starting with the site choice and proceeding through early outlines and
compositions it is clear that Mies planned to shape a one of a kind, unprecedented
experience from the very early inception of the project. The decision, selection and
placement of materials, the utilization of contrasting surface conditions, for example,
reflectivity, translucency, and opacity, and the arrangement of the furnishings and
Morgen statue works in a rhythm so as to accomplish the phenomenological venture
through the Barcelona Pavilion.

Today students, architects and even the common people rush to the Pavilion to
appreciate Mies' accomplishment, and to see with their own eyes a structure whose
impact can be found in each building which tries to get rid of barrier like stone walls
and replace them with sheets of fortified glass. Mies himself proceeded to
consummate the corporate glass and steel high rise in the United States, utilizing a lot
of the methods he applied so effectively at his Pavilion. Also, in spite of the fact that
the Pavilion is, as it were, inconsequential, in 1929 it remained as a landmark to what
the Modernist architects could accomplish.

ABDULLAH AL JABER

1821247010
 Books:

Modern Architecture by William J R Curtis

Slides and Video documentary:

Architect Sujaul Khan, North South University

Riccardo Manzoni 1735861, Swinburne University of Technology.

References
Websites:

https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe

https://study.com/academy/lesson/barcelona-pavilion-plan-materials-construction.html

https://owlcation.com/humanities/Barcelona-Pavilion-Techniques-of-Perception

https://archello.com/project/german-pavilion-barcelona-pavilion#stories