Ludwig Mies van der ROHE - (1929) - GERMAN Pavilion (Barcelona, Spain)

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An emblematic work of the Modern Movement [41°22'14N - 02°08'60E], it has been exhaustively studied and interpreted as well as having inspired the oeuvre of several generations of architects. The Barcelona Pavilion was designed by Ludwig Mies van der Rohe as the German National Pavilion for the 1929 Barcelona International Exhibition [[ Ссылка ]]. Built from glass, travertine and different kinds of marble, the Pavilion was conceived to accommodate the official reception presided over by King Alphonso XIII of Spain along with the German authorities. After the closure of the Exhibition, the Pavilion was disassembled in 1930. As time went by, it became a key point of reference not only in Mies van der Rohe's own career but also in twentieth-century architecture as a whole. Given the significance and reputation of the Pavilion, in 1980 thoughts turned towards its possible reconstruction. Work began in 1983 and the new building was opened on its original site in 1986 through the careful philological reconstruction by Ignasi de Solà-Morales, Cristian Cirici and Fernando Ramos and supported by Oriol Bohigas that was the director of the Urban's Department of Barcelona [[ Ссылка ]]. 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 Kolbe's Alba ("Dawn") [[ Ссылка ]] 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. Famous for its motto "Less is More " and "God is in the Details', Mies attempted to create contemplative and neutral spaces, through an architecture based on material honesty and structural integrity, with an exemplary study of architectural detail.
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