Pavilion Barcelona
Most tourists visiting Barcelona admire the unique buildings of Antoni Gaudí. The Gaudí effect literally follows you at every turn, and the iconic nature of his buildings can be compared to that of the Eiffel Tower. Contemporary Barcelona has little to offer in the field of modern architecture (meaning from Art Nouveau onwards). But when your travel desires lead you to the Catalan metropolis, you shouldn’t miss a short but fulfilling visit to a gem of modern architecture. This is the exhibition pavilion by Ludwig Mies van der Rohe (1886-1969).
The pavilion was designed for the German pavilion at the Barcelona International Exposition held at the foot of Montjuïc Mountain in 1929. This was the same time when Mies created his iconic building in Brno. This temporal connection is also evident in the realization itself. Both buildings represent beautiful and significant moments in the history of architecture.
The whole beauty has one slight flaw. In the case of the Pavilion, it is not an original. After the exposition ended, the "stand" was dismantled. But as time went on, Mies's fame grew, and the city council of Barcelona realized that it represented not only a significant cultural monument of global importance but also another highlight in the tourist menu. In the early eighties, the city hired a trio of architects—Ignasi de Sola-Morales, Cristian Cirici, and Fernando Ramos—to restore the structure. The reconstruction was completed in 1986, and it seems to have been, as one of the few new constructions in Barcelona, executed with precision. The pavilion still looks brand new.
The pavilion is located in the Fira de Barcelona trade fair complex (but not in the closed sense of the word), in an exhibition venue of rather poor architectural quality. The connection of the Pavilion with the Tugendhat Villa is evident at first glance. The profile of the chrome columns is identical, though the Barcelona version is a financially more modest variant (I did not find out if this was the case with the original building). The combination of materials (glass, onyx, travertine, various types of marble) and architectural elements is analogous. Since the Pavilion is a structure with a very simple function, Mies was able to bring its form to a maximized simplicity and purity of expression and form. In this respect, the atmosphere of the building is stronger than in the Brno case; it appears airy, relaxed, and captures more the idea of harmony with nature that Mies also sought to develop in Brno. The Pavilion has no retractable windows; it simply has no enclosed spaces defined by doors or windows. What, however, elevates "our piece" a notch higher is the plot on which the Tugendhat Villa stands. While the Pavilion harmonizes beautifully with its immediate surroundings, its connection in a broader context is quite weak.
The play that Mies created by incorporating water is amazing. While one water surface in the open space defines and concludes the building's footprint, the other creates a very intimate and inviting space that invites quiet contemplation. This pond is complemented by the bronze statue Alba (Dawn) by Mies's contemporary Georg Kolbe. Its soft curves reflecting throughout the area bring minimalist equilibristics to perfection.
And as is often the case with Mies, he did not stop at just designing the building. Specifically for this occasion, he designed the Barcelona chair, which has become a true icon of modern furniture. Its shape is unique, but the ergonomics are not as ideal. In the streets of the city, you may also come across a bench clearly inspired by this chair. Although the problem with ergonomics has been solved, the quality of execution is rather laughable.
When visiting Barcelona, you should definitely not skip the Pavilion. And when you find yourself on the slopes of Montjuïc, climb all the way to the top and enjoy the stunning view of the Barcelona harbor. It’s an experience stronger than the Sagrada Familia (a faint comparison… travelers from the Prague-Benešov line will understand...).
The pavilion was designed for the German pavilion at the Barcelona International Exposition held at the foot of Montjuïc Mountain in 1929. This was the same time when Mies created his iconic building in Brno. This temporal connection is also evident in the realization itself. Both buildings represent beautiful and significant moments in the history of architecture.
The whole beauty has one slight flaw. In the case of the Pavilion, it is not an original. After the exposition ended, the "stand" was dismantled. But as time went on, Mies's fame grew, and the city council of Barcelona realized that it represented not only a significant cultural monument of global importance but also another highlight in the tourist menu. In the early eighties, the city hired a trio of architects—Ignasi de Sola-Morales, Cristian Cirici, and Fernando Ramos—to restore the structure. The reconstruction was completed in 1986, and it seems to have been, as one of the few new constructions in Barcelona, executed with precision. The pavilion still looks brand new.
The pavilion is located in the Fira de Barcelona trade fair complex (but not in the closed sense of the word), in an exhibition venue of rather poor architectural quality. The connection of the Pavilion with the Tugendhat Villa is evident at first glance. The profile of the chrome columns is identical, though the Barcelona version is a financially more modest variant (I did not find out if this was the case with the original building). The combination of materials (glass, onyx, travertine, various types of marble) and architectural elements is analogous. Since the Pavilion is a structure with a very simple function, Mies was able to bring its form to a maximized simplicity and purity of expression and form. In this respect, the atmosphere of the building is stronger than in the Brno case; it appears airy, relaxed, and captures more the idea of harmony with nature that Mies also sought to develop in Brno. The Pavilion has no retractable windows; it simply has no enclosed spaces defined by doors or windows. What, however, elevates "our piece" a notch higher is the plot on which the Tugendhat Villa stands. While the Pavilion harmonizes beautifully with its immediate surroundings, its connection in a broader context is quite weak.
The play that Mies created by incorporating water is amazing. While one water surface in the open space defines and concludes the building's footprint, the other creates a very intimate and inviting space that invites quiet contemplation. This pond is complemented by the bronze statue Alba (Dawn) by Mies's contemporary Georg Kolbe. Its soft curves reflecting throughout the area bring minimalist equilibristics to perfection.
And as is often the case with Mies, he did not stop at just designing the building. Specifically for this occasion, he designed the Barcelona chair, which has become a true icon of modern furniture. Its shape is unique, but the ergonomics are not as ideal. In the streets of the city, you may also come across a bench clearly inspired by this chair. Although the problem with ergonomics has been solved, the quality of execution is rather laughable.
When visiting Barcelona, you should definitely not skip the Pavilion. And when you find yourself on the slopes of Montjuïc, climb all the way to the top and enjoy the stunning view of the Barcelona harbor. It’s an experience stronger than the Sagrada Familia (a faint comparison… travelers from the Prague-Benešov line will understand...).
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