EXPO2000 ::The Barcelona 1929-1930 World Exposition::

Situated on a raised location in the middle part of the grounds, yet off the main routes, was the Weimar Republic's pavilion, designed by Ludwig Mies van de Rohe. This building contrasted with the other exposition structures, with their traditional concepts, by its novel use of space, and its structure and fittings - which ultimately developed into a model for modern architecture and became the celebrated highlight of the exposition in contemporary criticism. In 1979, the pavilion, which was demolished at the end of the exposition, was reconstructed using the original plans.
The single storey building with a ceiling height of 3.10 metres was erected on a base faced with Travertin. It had a rectangular plan, and only the short end walls extended down to the natural ground. The roof slab rested on eight cruciform steel supports, releasing the walls from their load-bearing function such that they could be freely arranged within the space as partitions. This created the freedom for an innovative division of space in which interior and exterior areas could merge with one another. Depending upon their combination, the architectural elements fulfilled multiple functions. The uniform base slab provided smooth transitions and movement between the zones designed as terrace and inner court with pond, and those areas intended as living space and fitted with furniture and carpets.
The short sides, to the North and South, formed u-shapes which also enclosed ponds on the outside. All other walls were constructed of rare materials such as gold-yellow onyx, antique green Tinos marble and matt tinted glass - and were placed without being restrictive. The only cross wall was made of matt glass, it was fitted with lights and provided the pavilion with an artificial source of light both inside and out.

The dynamic "flowing" use of space made architectural history and was based on strict geometrical, even asymmetrical arrangements. All lines were either parallel or normal to one another. Even the form and positioning of the furniture, also designed by Mies van de Rohe, followed the same architectural concept. The seats, made of chromed flat steel and white padded leather became particularly famous, today they are still produced as the Barcelona Chair. The tables had angular black opal glass tops and contrasted with the light upholstery. The precise perpendicular arrangements recurred even in the square floor elements and in the cruciform of the supporting pillars, made of four equilateral angles faced with chromed angled steel sheet. The only exceptions to this regimented environment was the sculpture by Georg Kolbe - a still female form, entitled "the morning" or "the dancer" - standing on the edge of the small pond.

The function of the pavilion was not so much in offering exhibits a representative home, but rather the art of architecture itself was the exhibit. This interpretation also corresponds with the presentation strategy developed for the exposition situation: the entry steps were hidden behind one of the stair strings, the building appeared to stand on a plinth which seemed to invite inspection from all sides. In addition a large German flag, arranged in front of the building, recalled the symbolic function. Visitors may well have benefited most from the long, covered marble bench arranged in front of the pond in a shadowy oasis, and from the interior of the building as a transparent room of peace and contemplation in the middle of the incessant clamour of the world exposition, even if some critics opined that they missed a humanising touch in the strict configuration of the space and the oppressive monumentalism of the materials and forms.

Year: 1929	City: Barcelona	Country: Spain
Duration: 20 May 1929 - 15 January 1930