The Architect

On a hillside grounds with the exposition Mies chose a website that lay across a footpath leading to one in the exposition's most well-liked exhibits -- a mockup village displaying the history of Spanish domestic architecture. The website contributed for the model from the Pavilion which came to serve as a resting spot for those people on a way up the hill and as a shortcut to the exhibition above it. Following a brief walk in the flowing space in the building, site visitors came out the other side and back onto the pathway.

The Pavilion was constructed on the narrow podium, 56.5 meters long, as well as the area encompassed by the structure itself, for instance interior and exterior space, measured 23 x 53 meters. Due to the slope from the hill the podium was visible only as the visitor approached the front of the Pavilion inside the south. The podium surface was level from the garden at the rear of the building. The platform's surface was uniformly paved with Roman travertine. A big pool lay at the north end and also a modest pool, open to the house and enclosed on 3 sides, lay at the south end. Roman travertine was also employed during the outer walls, with the exception from the walls surrounding the small pool which have been made of green Tinian marble.

Fitch, James Marston. "Mies van der Rohe and the Platonic Verities." In Four Good Makers of Current Architecture - Gropius, Le Corbusier, Mies van der Rohe, Wright: The Verbatim Record of a Symposium Held at the School of Architecture, Columbia University, March-May, 1961, 154-163. New York: Da Capo, 1970.

Johnson, Philip C. Mies van der Rohe. 3d ed. New York: Museum of Modern Art, 1978.

One facet of Mies' design that receives little consideration is its popularity being a type of oasis. The architect was, to your first time, designing for your climate that was utterly in contrast to that of Germany. With its combination of water, overhanging roof, tinted glass, cool marble, and an absence of doors, the Pavilion presented itself being a pleasant selection towards the hot Barcelona sun. The process for the building as well as the view inside the north end of the big pool show this extremely clearly. Wherever the visitor appears the building presents either green water (the large pool was painted green), green marble (around the small pool), or the invitingly deep shade from the overhanging roof. The promise of the cool retreat within the sun is kept by the gradually revealed interiors wherever light is managed with masterful indirection.

In this pair of views it becomes apparent that each element within the Pavilion has some modifying effect on the natural illumination that reaches the interior of the structure. Light in no way penetrates the building without, in some manner, owning its volume and intensity tempered in the process. Tegethoff notes how Kolbe's sculpture is "shielding her eyes against the brilliance from the sun" and provides a specially apt photograph (though the figure looks to try and do so from any angle). He then goes on to speculate on an elaborate allegorical scheme that is certainly implicit in the sculpture and its relation towards Pavilion.

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