The Barcelona Pavilion has being constantly studied for years; and since the architectural language has being improved new analysis and interpretations has emerged showing some perspectives opposite to those claimed in the earlier studies. The main focus of mostly studies is related to the presence or absence of symmetry, the sensory effects achieved by the use of reflective materials and whether it can be considered a prototype for the future works of Mies van der Rohe.
According to Psarra (2009), the first contrast observed when analysing the project is that between the asymmetry of the Pavilion (modern) and the symmetry of the Plaza (classic). Mies van der Rohe explore multiple points of view for the user, creating many different ways to experiment the building as a hole through the asymmetrical disposition of walls and the use of reflective materials, in opposition to the classical system that place one privileged point for the viewer, limiting the user’s experience.
Some of the houses designed by Mies van der Rohe after the 1929 International Exposition presented some characteristics in common with the pavilion, what is interpreted by some writers as a sign that the pavilion might have being used as a prototype for his next works. The main characteristics are the presence of free-standing walls, cruciform chrome columns and the use of reflective materials that became essential parts of his work.
One of the major considerations on the project was how the building looks from the view of the observer (Constant 1990 cited in Psarra 2009). It can be conclude by analysing the perspective sketches, drawings and reflective materials used to manipulate the viewer’s perception.
Siebenbrodt, M, & Schöbe, L 2012, Temptis : Bauhaus, Parkstone International, New York, NY, USA. Available from: ProQuest ebrary. [12 January 2015].
According to Psarra (2009), the first contrast observed when analysing the project is that between the asymmetry of the Pavilion (modern) and the symmetry of the Plaza (classic). Mies van der Rohe explore multiple points of view for the user, creating many different ways to experiment the building as a hole through the asymmetrical disposition of walls and the use of reflective materials, in opposition to the classical system that place one privileged point for the viewer, limiting the user’s experience.
Some of the houses designed by Mies van der Rohe after the 1929 International Exposition presented some characteristics in common with the pavilion, what is interpreted by some writers as a sign that the pavilion might have being used as a prototype for his next works. The main characteristics are the presence of free-standing walls, cruciform chrome columns and the use of reflective materials that became essential parts of his work.
One of the major considerations on the project was how the building looks from the view of the observer (Constant 1990 cited in Psarra 2009). It can be conclude by analysing the perspective sketches, drawings and reflective materials used to manipulate the viewer’s perception.
Siebenbrodt, M, & Schöbe, L 2012, Temptis : Bauhaus, Parkstone International, New York, NY, USA. Available from: ProQuest ebrary. [12 January 2015].