By George Dodds
In 1986 at the centenary of Mies van der Rohe's beginning, a brand new Barcelona Pavilion was built at the web site of the unique 1929 German Pavilion. that very same decade marked the one hundred and fiftieth anniversary of images. in view that then, a lot has been published approximately van der Rohe, the Pavilion, and images, both jointly and singly. while the literature on Mies van der Rohe has greater than doubled long ago fifteen years, this is often the 1st critical learn of the original phenomenon, and enduring fable of modernity, that was once, is and should stay the Barcelona Pavilion.
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Extra resources for Building Desire: On the Barcelona Pavilion
George Nelson is among the first to credit Reich's collaboration on both Mies's exhibition designs, and on all of his interiors of the period. 92 Nelson contributes to the Mies mythology, ignoring Mart Stam and Marcel Breuer's earlier designs for bent steel tube furniture: Mies designed the first metal chairs in Germany. Others were working on them, and that he did any at all was accidental. He designed a silk exhibition room in Berlin with Lilly Reich, his collaborator on most interiors, and when the room was finished he suddenly remembered that there where no chairs.
It is difficult to imagine that Reich did not collaborate on this as well. Lilly Reich died in Berlin, seventeen days after the closing of the Mies van der Rohe exhibition at MoMA. While she saw many of its pictures, she did not see the exhibition. 32 Iconography and Iconology Through a careful elaboration of the iconology of the Barcelona Pavilion, it may be possible to more fully understand what constitutes "the work" of the pavilion as an idea and the curious role that its photographic image has played in its interpretation and polemical adaptation over time.
In the "Blindness77 stage, Bonta describes how a cadre of important historians ignored the pavilion during 1929 exposition and for many decades that followed: that the textual life of a given piece of architecture often functions independently of the life of the building. 77104 Most iconographers of the pavilion, particularly during the last two decades, tend to ignore Bonta's work or approach it with contempt. 105 In the catalog to the 2001 Mies in Berlin exhibition at MoMA, for example, while most of the critical essays discuss, and at times focus on the Barcelona Pavilion, none cite Bonta.