Барселона павильоны: архитектуралық идеялар мен талқылаулар ошағы

Building in Barcelona, Spain
the band

The Barcelona Pavilion (; lang es; "German Pavilion"), designed by Ludwig Mies van der Rohe and Lilly Reich, was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition. This concept was carried out with the realization of the "free plan" and the "floating roof".

Mies's response to the proposal by von Schnitzler was radical. 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. The pavilion was to be bare, with no exhibits, leaving only the structure accompanying a single sculpture and specially designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". The reconstruction has been a popular tourist destination, but it also has been controversial among architects, critics, and historians. Some have hailed it as a revived masterpiece, some have condemned it as a "fake," and others are ambivalent. "[T]his building is not supposed to exist," asserted Paul Goldberger at the time. During planning, Philip Johnson wondered, "The problem before us is should a dream be realized or not? We have made such a myth of that building. Shouldn’t it be left in the sacred vault of the memory bank?" Architect Lance Hosey has thoroughly documented reactions to the reconstruction, concluding that while the reconstruction is a better physical artifact, the original was an irreplaceable product of its sociopolitical context.

The Pavilion was not only a pioneer for construction forms with a fresh, disciplined understanding of space, but also for modelling new opportunities for an association of free art and architecture. Mies placed Georg Kolbe's Alba ("Dawn") in the small water basin, leaving the larger one all the more empty. 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. "From now on, in the sense of equality for juxtaposing building and visual work, sculptures were no longer to be applied retrospectively to the building, but rather to be a part of the spatial design, to help define and interpret it. To the day, one of the most notable examples is the Barcelona Pavilion". have kept the pavilion as a node of debate on architectural ideas and practices. The list of invited people includes architects Kazuyo Sejima and Ryue Nishizawa (SANAA) who added spiral acrylic interior walls, artist Ai Weiwei who refilled two pools with coffee and milk, Andrés Jaque who revealed the pavilion's so far disregarded basement and its role in hiding the daily making of the site's experience, Enric Miralles, Antoni Muntadas who brought to the pavilion the smell of the MoMA archives where its memory is preserved and Jordi Bernadó who removed the pavilion's glass doors. The architect and activist Andrés Jaque (Office for Political Innovation), artists Katarzyna Krakowiak, Laura Martínez de Guereñu, and the designer Sabine Marcelis have also been commissioned to create pieces for the interventions programme.

In 2018, the Mies van der Rohe Foundation presented the first edition of the Lilly Reich Grant for equality in architecture. The recipient of the inaugural grant was Re enactment: Lilly Reich's work occupies the Barcelona Pavilion submitted by Laura Martínez de Guereñu. In 2020, the second grant was awarded to [On Set with] Lilly Reich submitted by Laura Lizondo Sevilla, Débora Domingo Calabuig, and Avelina Prat García. The third grant, in 2022, was awarded to the submission Anna Bofill Levi. Architecture as a Counter Melody (1977–1996) by María Elia Gutiérrez Mozo, José Parra Martínez, Ana Gilsanz Díaz, and Joaquín Arnau Amo.