German pavilion

Barcelona pavilion analysis pdf

As part of the 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. Less had become a bore. This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. 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. The walls not only created space, but also directed visitor's movements. And, as modernism came increasingly under attack in the s and 80s — accused of ugliness and even brutality — the aesthetic and cultural value of the pavilion only grew. The building was torn down in early , not even a year after it was completed. Since , it also accommodates the award ceremony of the famous EU Mies Award biennial prize for European architecture. The last principal of the Bauhaus — closed, under government pressure, in — he went to the Institute of Technology ITT , Chicago, four years later, where he created a school of thought and design. Set high on Montjuic, a hill overlooking the harbour of Barcelona, the pavilion was visited by hundreds of thousands of people. 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. 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. Together with onyx and Trevi travertine, the architect used two types of green marble, one quarried in the Aosta Valley Alps and the other in Tros, Greece.

The low profile of the roof appears in elevation as a floating plane above the interior volume. 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. During a survey, the remains of the original concrete foundation of the pavilion were found, which made possible to discover its exact size.

Barcelona pavilion dwg

View the complete gallery Project location. 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. As part of the 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. These installations and alterations, called "interventions", have kept the pavilion as a node of debate on architectural ideas and practices. The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. 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 building was torn down in early , not even a year after it was completed. Set high on Montjuic, a hill overlooking the harbour of Barcelona, the pavilion was visited by hundreds of thousands of people.

The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. The appearance of floating gives the volume a sense of weightlessness that fluctuates between enclosure and canopy. After rejecting the original site for 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 Poble Espanyol.

barcelona pavilion model

The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. Nothing, though - no prince, no planning authority, no public inquiry — could ever deny the beauty of, nor dent the reputation of the Barcelona Pavilion.

Compelling, captivating and utterly enchanting, the replica opened in And, as modernism came increasingly under attack in the s and 80s — accused of ugliness and even brutality — the aesthetic and cultural value of the pavilion only grew.

German pavilion

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. In the years following World War IGermany started to turn around.

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.

german pavilion venice biennale 2019

Out of this world Set on a travertine plinth, its gleaming, offset walls created subtle spatial illusions enhanced by sunlight, and moonlight, shimmering and sparkling from both the rich building materials and from the rectangular pool that permeated the structure.

The design team was also able to get almost all stone materials from the same quarries of the original ones.

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CAMPUS GERMANY: The German Pavilion