Following the First World War, The
Barcelona Pavilion, 1929, by Mies Vander Rohe became an iconic representation
of German culture: an emulation of the nation’s progressively modern culture
following its roots in classical history. The only function the building had to
accommodate is as a reception of the King and Queen of Spain as they signed the
Golden Book, and official opening to the exposition. It has no official
program, and understood by the designer as “just a building.” The Pavilion was never really in used by
anyone, It instead, is understood as sculpture rather than a living space.
As an architecture student, the name
“Mies Vander Rohe” and the building, “Barcelona Pavilion,” is often alluded to
in lectures and referenced in project introductions. It is Architect’s
specialized term for “mainstream.” The space reiterated the modernists concept “Less
is more.” Looking at the floor plan drawings illustrated an ultimately simplistic
plan. The space is represented in simple white walls with rectangular geometric
repetition yet a sense of spatial complexity. Further studies of the pavilion
illustrates how Mies created “a space within a space.” Although the space is represented in a super
simplistic fashion, the complexity of the space further advances those of
complex plan buildings. It’s the walls.
Introducing the MVP of Barcelona Pavilion:
Walls. Specially customized and crafted walls partitioned the interior space of
the pavilion, though not closing off the space entirely. Mies chose from only a
few materials: glass, travertine, marble, onyx, and steel.
Unlike ordinary cookie cutter houses, where materials were often covered up
with paint to hide its hideous looks, Mies making the material speak for
themselves. For example, the large marble wall running through the pavilion was
carefully picked piece by piece so that the natural patterns are matching and
coherent with its adjacent piece. The glass reflections and natural lighting
results help create and open-ness to the space.
To understand why the walls created
such an impact on the pavilion, one must understand the underlying logic behind
the designing of the pavilion. The pavilion is designed based on a formulaic
grid system developed by the architect. Not only does it serve as the
travertine patterns, it is also serves as the framework of the wall orientation
s and systems within the pavilion.
Creation of the partitioned space
could not have been done if the building was constructed with heavy thick walls
and columns. The light weight and floating quality of the architecture allowed
for such open space to create a space within a space. Mies used thin columns
and low flat roofs to indicate the open-ness of space as it laid low horizontal
to the ground. It sets the example and thrive for modernism. It’s the complexity
of experience represented in simply architecture.
The pavilion is how Mies Vander
Rohe showed that Less is actually, More.
ไม่มีความคิดเห็น:
แสดงความคิดเห็น