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通过材料创新重新发现巴塞罗那馆——钢、玻璃和大理石
Rediscovering the Barcelona Pavilion Through its Material Innovations: Steel, Glass and Marble
由专筑网Zia，小R编译
密斯·凡·德罗和莉莉·赖希为1929年巴塞罗那国际博览会设计的德国馆成为史上经典作品，但无论多少次重新对展馆进行分析，总会有新的角度。建筑师设计策略背后的关键因素是，建筑对于德国形象的塑造，同时真正引入当代建筑项目中持续存在的新策略。
“我们必须摆脱功能主义的冷漠。要理解现代建筑，认为理性的解决方案就足够了，这是错误的。建筑之美，对于我们这个时代和过去来说都是一种必然，除非我们在建造的时候能超越简单的用途，否则就无法达到。”——密斯·凡·德罗
Mies Van der Rohe and Lilly Reich’s German Pavilion for the 1929 Barcelona International Exhibition is known as the most written-about modern building. But no matter how many times the pavilion is redrawn for analysis, there are always new angles from which to interpret it. Identifying its capacity to redefine the German image, while genuinely introducing new strategies that continue present in contemporary architecture projects are two key elements of the architects’ intentions behind their design strategy.
'We have to get away from the coldness of functionalism. It is a mistake to believe that to understand the problem of modern architecture it is enough to recognize a necessity for rational solutions. Beauty in architecture, which is a necessity and finality for our time as for past periods, cannot be attained unless we can see beyond simple utility when we build.' – Mies Van der Rohe
© Hande Sigin
巴塞罗那馆通过新建筑的主张不同于以前的运动，如功能主义。建筑师对材料进行创新使用，其特点是结合了三种丰富的材料:钢、玻璃和大理石。建筑师应用精确的几何形状和组装表达了这些选择的独创性。材料的选择确定了特定功能，保持了清晰的建筑概念。
钢：镀铬钢柱作为承重构件
八个镀铬钢柱，四个等效的二面体与4L和4T的型材，放置在矩形的平面内，形成承重元素。把结构需求留给细长的柱子，形成了开放的平面，创造一个全新的高质量流动空间。同时，墙壁可以灵活的处理其承重元素，而不受限于自身。
The Barcelona Pavilion differs from previous movements like functionalism through the proposition of a new architecture. Through an innovative use of materials, the pavilion is characterized by combining three rich materials: steel, glass and marble. The architects expressed the originality of these choices through their precise geometry and accurate assembly. The selection of materials identifies a particular function for each piece, maintaining a clear architectural concept.
Steel: Chrome-Plated Steel Posts as the Load-Bearing Element
The presence of eight chrome-plated steel posts –out of four equivalent dihedrals with 4L and 4T profiles–, placed regularly in a rectangular shape, form the load-bearing element. Leaving the structural demand to the slender posts allows an open floor plan that creates a new spatial quality - a flowing space. Simultaneously, it permits walls to dispose of their function as load-bearing elements, instead acting like objects themselves.
© Camila Prieto (ArchDaily)
在第一次世界大战结束11年后，德国馆打算通过其建筑形式向世界展示一个全新的令人安心的德国形象。典礼当天，一位德国代表说：“这里的一切都是简单、开放的，我们没什么好隐瞒的。”同样，密斯·凡德罗改变了展馆的地点，以在展览中增加德国的存在感。
Eleven years after the end of the First World War, the German Pavilion intended to show the world a new and reassuring image of Germany through its architectural form. Exhibiting nothing but itself, according to a German representative on the inauguration day: “everything here is simple, open; we have nothing to hide.” Likewise, Mies Van der Rohe changed the assigned site for the pavilion to create a greater German presence in the exhibition.
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在展馆的建造中，密斯和赖希设计了一个大型展览序列，旨在代表德国的工业结构。随着8处新古典主义室内设计，两位建筑师加强了展馆的建筑特色。因此，建筑内部使用了创新元素，如镀铬的十字形柱子。
玻璃：透明和反射
通过玻璃隔断产生的透明和反射的相互作用，呈现了一种独特的室内感受。
In the construction of the Pavilion, Mies and Reich played with a larger exhibiting sequence that aimed to represent the German industrial fabric. Along with the interior design of 8 neoclassical palaces, both architects enforced the architectural characteristics of the pavilion. Thus, the use of innovative elements such as the chrome-plated cross-shaped posts are present in the palaces’ interiors.
Glass: Transparencies and Reflections
With the interaction of transparencies and reflections created by the glass partitions, the scheme presents a unique perception of the interior.
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在地面的引导下，窗户达到了近9米的宽度。通过使用三种对比鲜明的透明玻璃，室内感觉更加复杂:面向花园的灰色玻璃，将室内与水场分隔开来的橄榄绿玻璃，以及构成展馆入口的无色玻璃。随着自由平面的开放，玻璃定义了这些空间，而不是封闭它们。
Guided by the module of the pavement, the window reaches a length of almost 9 meters. The interior perception intensifies its complexity with the use of 3 contrasting types of transparent glass: gray glass towards the garden, olive-green glass dividing the interior from the water court, and an uncolored glass framing the entrance of the pavilion. Following the openness of the free floor plan, glass walls define the space without closing it in.
© Cemal Emden
这种创新可以从玻璃隔断的使用中看出，玻璃使得空间更加自由，并使室内与外部环境融为一体。
大理石：为室内添加纹理
建筑可以适应生活方式的变化。对于密斯·凡·德罗来说，当时的生活需要简单的指导理念。作为现代运动的一部分，展馆将艺术与简约相结合。通过简单的线条和流畅的平面，布局旨在解决建筑问题，同时得到美学的结果。在展馆的设计过程中，建筑师在实现精确的视觉效果之前，测试了不同材质的墙壁。
The innovation can be seen in the use of glass partitions, which allow freedom in the use of space and the integration of the interior with the outside environment.
Marble: Adding Texture to the Interior
Architecture adapts to the changing ways of life; for Mies van der Rohe, life at the time demanded simplicity as a guiding concept. As part of the modern movement, the pavilion combines art with simplicity. Through simple lines and smooth planes, the layout aspires to solve architectural problems while proposing an aesthetic result. During the pavilion’s design process, the architects tested different positions for the walls before achieving lines that enable precise visual effects.
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小时候，密斯·凡·德罗就从石匠家庭了解到不同类型的大理石和矿物。从众多的选择中，他选择了四种不同的石头：罗马石灰华、高山绿色大理石、希腊古代绿色大理石和阿特拉斯山脉的金色缟玛瑙。他对高贵材料的使用经验使他在展馆的墙壁中选择了平衡的颜色和结构。
As a child, Mies Van der Rohe learned about different types of marble and minerals from his family of stonemasons. From a wide number of options, the architect chose four different kinds of stone: roman travertine, green alpine marble, ancient green marble from Greece and golden onyx from the Atlas Mountains. His experience with noble materials led him to a selection of balanced colors and structure in the stones applied in the pavilion.
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建筑师在展馆的设计中获得了自由，这让他可以选择独特的家具作为补充。密斯·凡·德罗用以前没有用过的材料制造了一种未来现代设计的标志——由皮革软垫金属型材制成的巴塞罗那椅，这是一种创新的设计，至今仍然适用。
The freedom given to the architect in the design of the pavilion allowed him to create exclusive furniture as a complement. Made from materials that hadn’t been previously used, Mies Van der Rohe proposed a future icon of modern design: made from leather-upholstered metallic profile, the Barcelona Chair was an innovation that is still relevant today.
© Cemal Emden
© Cemal Emden
© Cemal Emden
© Cemal Emden
© Cemal Emden
© Cemal Emden
参考文献
References
Guereñu, L. M. D. (2017). The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger ndustrial Presence. Docomomo Journal, (56), 56–63. https://doi.org/10.52200/56.A.UY5O2BW6
Neumann, Dietrich. The Barcelona Pavilion by Mies van der Rohe: One Hundred Texts since 1929, Berlin, Boston: Birkhäuser, 2020.
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