Life and Philosophy

Ludwig Mies van der Rohe was born on March 27, 1886, in Aachen, Germany. He grew
up helping his father on construction sites as his father was a stonemason. Mies did not receive
formal architectural education, instead, he began his career through hands-on experience,
working under the prominent furniture designer and architect Bruno Paul in Berlin.

By 1907, Mies designed his first independent project, designing a traditional house for a
philosopher. It was during this early stage that he kept his Mother’s last name "van der Rohe" to
his name to give it an air of aristocratic prestige. Shortly after, from 1908 to 1912, he worked in
the office of Peter Behrens, one of the most influential early modern architects. This experience
exposed Mies to progressive ideas about industrial design and architecture. At Behrens’ studio,
he also crossed paths with other future pioneers of modernism, including Walter Gropius and Le
Corbusier.

Initially, Mies’ designs were conservative, often reflecting neoclassical traditions. However, after
the disruptions of World War I, he began to reconsider his design approach and stripped away
unnecessary ornamentation. Influenced by new emerging artistic movements and the
technological optimism progress, he shifted towards a clear, minimalist and functional style,
focusing on structural clarity and the use of modern materials like steel and glass, often known
as his “skins and bones”.

In the 1920s, Mies became an active figure in the Deutscher Werkbund, an organization
that aimed to unite art and industry. As he became its vice president, he organized the influential
1927 Weissenhof Estate exhibition in Stuttgart, which showcased innovative housing designs by
leading modernist architects. His contributions at Weissenhof, along with his growing reputation
for minimalist design, established him as a prominent figure in modern architecture.

By the time he was commissioned to design the German Pavilion for the 1929 Barcelona
International Exposition, Mies had fully developed his architectural philosophy: “Less is More.”.
This project, known today as the Barcelona Pavilion, would become one of the most iconic
works of modern architecture.

With the rise of the Nazi regime and the closure of the Bauhaus in 1933, where Mies served as
the last director, he emigrated to the United States in 1938. Settling in Chicago, he became the
head of the architecture department at the Illinois Institute of Technology (IIT), where he
designed the IIT campus, including the renowned S. R. Crown Hall. His American projects, such
as the Farnsworth House in Illinois and the Seagram Building in New York City, further
cemented his reputation as a master of modernist architecture.

Mies became a U.S. citizen in 1944 and continued to influence architectural thought through
both his designs and teachings. He passed away on August 17, 1969, in Chicago, leaving
behind a legacy that continues to inspire architects worldwide.

PROJECT ANALYSIS
 Designed by Ludwig Mies van der Rohe and Lily Reich, the Barcelona Pavilion, originally
named the German Pavilion, was conceived to host the official reception led by the Spanish
Kings along with the German authorities, but its influence extended far beyond its functional
role. After the closure of the exhibition, the pavilion was disassembled in 1930. As time went by,
it became a key point of reference not only in Mies van der Rohe’s own career but also in
twentieth-century architecture as a whole. Given the significance and reputation of the Pavilion,
thoughts turned towards its possible reconstruction.

The Barcelona Pavilion, designed by Ludwig Mies van der Rohe and Lily Reich, was
originally created to host the official reception led by the Spanish king and German officials.
However, its impact went far beyond this role. After the exhibition closed, the pavilion was
disassembled in 1930. Over the years, it became a crucial reference point in Mies van der
Rohe’s career and in the 20th-century. Given the pavilion's reputation, discussions about
rebuilding it started leading to the reconstruction of the project, which was completed and
reopened in its original form in 1986.

Furthermore, the pavilion was not created for any practical or functional purpose, but
instead, it was used as an architectural experience. The building itself became the exhibit,
offering a space where the architecture was the focus rather than displaying objects or
exhibitions. Its design utilizes a free plan layout, emphasizing a fluid relationship between
interior and exterior through intersecting planes and open spaces. This fluidity is further
accentuated by the use of natural and industrial materials, and adds to the pavilion’s style. The
walls are made from marble, glass, and polished steel. They slide past each other without
meeting at corners, creating an uninterrupted flow of space.

Raised on a travertine plinth, the Pavilion separates itself from its surroundings,
enhancing the atmospheric experience and creating a sense of isolation. The low-profile roof is
supported by eight slender cruciform columns that appear to float above the interior, giving the
Pavilion a weightlessness and fluidity between the interior and exterior.

The Pavilion’s design is based on a grid system that informs the arrangement of the
travertine pavers and the wall systems. This formulaic approach contributes to the Pavilion's
minimalist aesthetic, while the strategic use of materials, like the luminous Italian travertine,
transforms the space into a continuous volume. The Pavilion is more than just a building; it is a
conceptual sculpture where light, shadow, reflections, textures, and the natural landscape come
together to create a sensory experience that epitomizes the advent of modern architecture in
the 20th century. Additionally, the iconic Barcelona Chair made from leather and chrome,
designed by van der Rohe for the Pavilion complements the space’s ethos that combines
simplicity, functionality, and elegance, enhancing the overall harmony of the design.

The materials used in the Pavilion are integral to its architectural narrative, blending natural
beauty with modern industrialism. Roman Travertine forms the base and exterior, providing a
solid, luminous backdrop, while Golden Onyx adds warmth and elegance to the interior. Green
Marble from the French Alps brings contrast, and glass partitions blur the boundary between the
interior and exterior, enhancing transparency. Chrome-Plated Steel, used for the cruciform
columns, supports the roof and introduces a modern industrial element. Together, these
materials create a harmonious and fluid space that emphasizes simplicity and the honest
expression of materials.