The evocative and amplifying power of the German Pavilion for the 1929 Barcelona International Exhibition still has the same power today as it did when it was inaugurated. Once upon a time as contained, and today, more than anything, as a container. The notion that the pavilion itself responds to a new awakening of architecture is also frequently heard. The idea that the work of art, as a whole, was intended to expose the new awakening that the community it represented was undergoing, is generally accepted. Masterfully situated at the end of the pool in one of the inner courtyards is Alba - or Dawn or Amanecer or Der Morgen -, a bronze reproduction of Georg Kolbe's sculpture. "So many different readings of the same space! Even conflicting and sometimes overlapping interpretations! They could be grouped into those that praise its more rational aspects, highlighting its rotundity, clarity, simplicity and order based on general principles such as technology, structure and construction, and those that identify it with its more metaphysical side, considering it a virtual space based on sensuality, expressionism, sophistication and amalgams of visual illusions". And the multiplicity of ways in which scholars have approached it. Used under Creative Commons.Įva Llorca Afonso, in her doctoral thesis, sums up well the assiduity with which this pavilion has been the focus of research and reflection. Image via ©Flickr: usuario-estudio campo baeza. Save this picture! Pabellón de Alemania en Barcelona.
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