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https://doi.org/10.52200/56.A.UY5O2BW6Keywords:
Modern Movement, Modern architecture, Modern housingAbstract
The German Pavilion for the 1929 Barcelona International Exhibition was part of a much larger exhibiting sequence, which Mies van der Rohe and Lilly Reich constructed following their main undertaking in the Barcelona industrial exhibits: to design the entire German section. By the time Mies van der Rohe started the project of the German Pavilion, he had already been working for more than 4 months on the construction of the identity and representation of the strength of the German industrial fabric, which he would architecturally express in the interior design of 8 neoclassical palaces. Hence, the two most innovative architectural elements of the German Pavilion – the milky color double-glazed wall and the chrome-plated cross-shaped posts – can be traced back to the interiors of these palaces. The 16,000 m2 of industrial exhibits, not reconstructed in 1986, form today the immaterial heritage that underpins the historical relevance of the Barcelona Pavilion. 3 documents, including a sequence from the official exhibition film, preserve the order linking the range of Mies van der Rohe’s work in Barcelona and broaden the historical meaning of one of the most important works of architectural modernism.
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Copyright (c) 2017 Laura Martinez De Guereñu
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References
AAPAB C1. Contract between George von Schnitzler and Santiago Trías, September 26, 1928. Albeitung II, R90140028, 130-132 (Auswärtiges Amt, Politisches Archiv, Berlin).
AAPAB C2. Contract between George von Schnitzler and Ludwig Mies van der Rohe, November 12, 1928. Albeitung II, R240030, 101-103 (Auswärtiges Amt, Politisches Archiv, Berlin).
AAPAB C3. Letter of the Spanish Consulate in Barcelona to the German Foreign Affairs Ministry, February 15, 1927 (entry stamp from February 21), R240027, 0028-31 (Auswärtiges Amt, Politisches Archiv, Berlín).
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