5 Interventions / BP_MVDR

Title of Event

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SMELL I-100

Brief Note

FIVE INTERVENTIONS

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Designer / Artist

BARCELONA PAVILION

OVERVIEW OF FIVE SENSORY INSTALLATIONS

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Author of Production

RSK di Studio 184 Hooper St San Francisco CA

Address of Site

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

Location of Event

TOUCH I-500

LISTEN I-400

GRAPHIC DESIGN

Title of Section

ENCYCLOPEDIA OF EVENTS

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KEY GUIDE

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CHAPTERS PAGE# INTRO STRUCTURE MATERIAL OBJECTS INTERVENTION SMELL TASTE TOUCH LOOK LISTEN DIAGRAMS

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Address of Site

NAVIGATION CHAPTER CODES Placed on every page for wayfinding

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HISTORY | CONTEXT

Mies van der Rohe was offered the commission of this building in 1928 after his successful administration of the 1927 Werkbund exhibition in Stuttgart. The German Republic entrusted Mies with the artistic management and erection of not only the Barcelona Pavilion, but for the buildings for all the German sections at the 1929 International Exhibition. However, Mies had severe time constraints—he had to design the Barcelona Pavilion in less than a year—and was also dealing with uncertain economic conditions.

In the years following World War I, Germany started to turn around.

The economy started to recover after the 1924 Dawes Plan. The pavilion for the International Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture. The Commissioner, Georg von Schnitzler said it should give “voice to the spirit of a new era”. This concept was carried out with the realization of the “Free plan” and the “Floating roof”.

Mies’s response to the proposal by von Schnitzler was radical.

After rejecting the original site for aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition’s main attractions, the Poble Espanyol.

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The pavilion was to be bare, with no exhibits, leaving only the structure accompanying a single sculpture and specially-designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside.

However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple.

The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin.

HISTORY | CONTEXT

ABOUT MIES VAN DER ROHE

Ludwig Mies van der Rohe was born on March 27 1886 in Aachen, the son of Jakob Mies (a dealer in marble) and Amalia Rohe. In 1913, he moved with his wife Ada Bruhn to Werder (on the outskirts of Berlin). There his daughters Marianne and Waltrani were born, followed some time later

by Dorotea, who would subsequently change her name to Georgia. Until World War I, Mies’s social and professional relations had been with well-to-do families, but after 1918 everything changed: he separated from his family and, through Hans Richter, came into contact with the contemporary avant-garde, particularly Van Doesburg, Man Ray, Hilberseimer, Walter Benjamin and Raoul Hausmann.

During his participation in the Weissenhof housing exhibition at Stuttgart, between 1925 and 1927, Mies established a relationship with interior designer Lilly Reich that was to last until 1939. They worked together on the Glassraum (glass room) for the 1927 Stuttgart exhibition, on the Barcelona Pavilion, on the Tugendhat house in Brno between 1928 and 1930 and on the house they presented at the 1931 Berlin exhibition.

http://miesbcn.com/the-pavilion/

HISTORY CONTEXT

INTRODUCTION

http://www.bdonline.co.uk/Pictures/web/i/i/g/Barcelona-Pavilion-by-Mies-van-der-Rohe_Credit_Pepo-Segura--Fundacio-Mies-van-der-Rohe---outsid_636.jpg

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

“The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes”

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HISTORY | CONTEXT

The floor slabs of the pavilion project out and over the pool— once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is GEORG KOLBE where the statue by Georg Kolbe sits. The roof plates, relatively F-000 small, are supported by the chrome-clad, cruciform columns.

This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the “floating” roof plane down, not to be bearing its weight.

Mies wanted this building to become “an ideal zone of tranquillity” for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to “block” any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the Poble Espanyol. The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor’s movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.

Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of ANCIENT GREEN ancient green marble and golden onyx as well as tinted 000 glass of grey, green, white, as well as translucent glassperform exclusively as spatial dividers.

GOLDEN ONYX 000 GLASS 000

Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930not even a year after it was completed. However, thanks to blackand-white photos and original plans, a group of Spanish architects reconstructed the pavilion permanently between 1983 and 1986.

HISTORY | CONTEXT

In 1930 the mayor of Dessau proposed that Mies direct the Bauhaus, where he would succeed Hannes Mayer, who had been in charge since 1928, when he took over from the founder Walter Gropius. His assistants during this period were Lilly Reich and Hilberseimer. The outcome of the 1931 elections was a Nazi majority at the Dessau Municipal Council- who decided to close the Bauhaus. Given this situation, Mies moved it to Berlin as a private centre under his own name. After having negotiated with the Nazi minister Rosemberg, in 1933 he decided to close the centre rather than cede to ideological pressure. Lack of funds also influenced this decision.

In 1938 Mies emigrated to the United States, specifically to Chicago, where he worked at the Armour Institute of Technology architecture school, which he eventually came to direct. He designed and executed the campus for the new Illinois Institute of Technology and its prismatic steel-structured buildings with naked brick and glass walls.

In 1940 the architect met Lora Marx, who would be his faithful companion until his death in 1969. In 1944 he was naturalised as citizen of the United States.

Between 1945 and 1950 he built the Farnsworth House in Illinois, in a meadow surrounded

http://bauhaus-online.de/en/atlas/personen/ludwig-mies-van-der-rohe

HISTORY CONTEXT

INTRODUCTION

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039 After the exhibition, the pavilion was deconstructed in 1930 and then rebuilt at its original place between 1983 and 1986.

The reconstruction of the German pavilion according to original plans was conducted by the architects Cristian Cirici, Fernando Ramos and Ignasi de Solà-Morales.

MODEL OF BUILDING

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HISTORY | CONTEXT

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HISTORY | CONTEXT

by trees beside the River Fox. The house consists of a single interior space enclosed behind glass façades. The floor and roof are of flat concrete slabs.

Between 1948 and 1951 Mies was able to reify his dream of building a glass skyscraper.

This took the form of the twin towers of the Lake Shore Drive Apartments in Chicago and, later, the Commonwealth Promenade Apartments (1953-1956), also in Chicago. Both projects are masterful examples of use of the arcade structure and the steel and glass curtain wall.

Jointly with Philip Johnson, between 1954 and 1958 Mies built the legendary Seagram Building office block in New York, a paradigm of this kind of building, in which he continued to perfect the arcade structure and curtain wall.

The BacardĂ­ office block in Mexico, in which Mies continued to use glass, steel and travertine as his basic materials, was built between 1957 and 1961.

In 1959 he retired from the Illinois Institute of Technology.

Between 1962 and 1968 Mies built the National Gallery in Berlin, a building for art exhibitions that comprises a huge main hall made entirely from glass and steel and standing on an extensive graniteslab terrace.

On August 17 1969 Mies van der Rohe died in Chicago, leaving as his legacy a set of new canons that, inspired by his worldfamous dictum less is more, advocate a sober, universal form of architecture.

BARCELONA PAVILION

INTRODUCTION

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

“LESS IS MORE”

-Ludwig Mies van der Rohe

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http://miesbcn.com/the-pavilion/

MATERIALS

Ent. At viri sid imoeremus, nimacenis, ficaedius no.

Conestratio is, Ti. Ventraet, consimil hos condamd iosula ipici popteri patquo moentertuus perbissente es aciocci consi is? An hae

The Bauhaus style is clearly recognizable in the pavilion. “Less is more” – Mies van der Rohe was one of the architects who planned their buildings according to this motto. With clear lines and simple forms as they are used in many skyscrapers and office buildings, the pavilion is a style template for modern architecture.

Mies van der Rohe implemented two important basic principles of modern architecture with the pavilion:

With the constructive principle of the so-called “free façade” van der Rohe freed the building of the limitations of the supporting interior walls. The supporting function was transferred to the exterior walls or to supporting stilts.

the spatial principle of the “open floor plan” considered the volume included in the building as one coherent space in which the individual functions are not divided into different rooms.

The room units melt into each other, separating elements can be lights, different floor tilings, different colors, light room dividers or specific furniture.

The steel concrete roof is supported by filigree, unobtrusive chrome stilts. Between those, wall elements and windows reach from the ceiling to the floor. Marble of different colors is used for the walls and the floors, as well as travertine, a light and porous stone, and alabaster, recognizable by its linings.

This is where the German Pavilion was a style template again: the stone plates were attached to the walls by a nature-stone fixation.

This procedure is nowadays very popular with planners because it offers so many design options.

The large window fronts have no clear separating function within the building, but they hint bordering elements, e.g. the light yard, where the bronze statue “Morgen” by Georg Kolbe is placed in a water basin. This type of fluent passage from interior to exterior areas can often be found in residential houses.

MATERIALS

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BARCELONA PAVILION

UNDERSTANDING SPACE OF THE BUILDING

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

STRUCTURE

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LEVEL -1

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“The covered portion of the pavilion, one story high, occupied roughly the north half of the podium. Beneath its flat roof ran the series of interwoven spaces that has, as much as anything else, won the Barcelona Pavilion its immense prestige.

LEVEL-1

The roof rested on walls, or more properly wall planes, placed asymmetrically but always in parallels or perpendiculars, so that they appeared to slide past each other in a space through which the viewer could walk more or less endlessly, without ever being stopped within a cubical area.

https://worldforarchitects.files.wordpress.com/2015/09/pab_06.jpg

This open plan, with its intimation of an infinite freedom of movement, was at the same time qualified by two rows of equally spaced, cruciform columns that stood in martial formation amid the gliding walls. The columnar arrangement constituted Mies’s first use of the grid as an ordering factor in his building, a prefiguration of the monumental regularity that marked the work of his American years.”

LEVEL-1

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

SQUARE SLABS

STRUCTURE

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STEEL STRUCTURE

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The structure is created with eight steel pillars in a cross holding a flat roof.

Complete the work a relieved from large glass structure and interior walls.

The regular grid system developed

by Mies not only serves as a pattern for laying travertine pavers , but also serves as an underlying framework of working systems for interior walls .

STRUCTURE

http://s299.photobucket.com/user/skottchun/media/travel%20with%20frank%20gehry/barcelona_pavillion_1.jpg.html

The structure is created with eight steel pillars in a cross holding a flat roof. Complete the work a relieved from large glass structure and interior walls.

The regular grid system developed by Mies not only serves as a pattern for laying travertine pavers , but also serves as an underlying framework of working systems for interior walls .

By raising the flag on a pedestal along with the narrow section of the site, the horizontality of the building is accentuated. The Barcelona Pavilion has a low horizontal orientation that is accentuated with too low flat roof that seems to float both inside and outside . This character is reinforced by the large https://www.pinterest.com/pin/54043264255898746/ overhang of the roof and the lightness of the steel columns that relate these levels and create an effect of weightlessness.

https://liujuorange.files.wordpress.com/2012/02/detail2.jpg

STAINLESS STEEL

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i GuĂ rdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

INTERIOR SPACE

The structure is created with eight steel pillars in a cross holding a flat roof. The regular grid system developed by Mies not only serves as a pattern for laying travertine pavers, but also serves as a underlying framework of working systems for interior walls.

STRUCTURE

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STRUCTURE

ROOF

http://3.bp.blogspot.com/-Qr02xB1avfo/T3Hcye_NwPI/AAAAAAAANVI/t137kfqAcIU/s1600/Mies_van_der_Rohe_Barcelona_Pavillion_21.jpg

Every aspect of the German Pavilion has architectural significance that can be seen in the advent of modern architecture in the twentieth century, however , one of the most important aspects of the pavilion is the roof.

The low profile of the cover appears in elevation as a plane floating above the interior volume. The appearance of floating gives the volume a sense of weightlessness that fluctuates between the housing and the cover.

The roof is supported by eight slender http://www.knoll.com/nkdc/images/inspiration/frampton_mies_barcelonapavilion.jpg cruciform columns that allow you to transmit the sensation of floating on the volume while freeing the interior to allow an open floor plan . Between indoor and projected outward opening http://figure-ground.com/data/mies_pavilion/0013.jpg canopy , a blurred spatial demarcation where inside becomes outside and outside to inside is created.

ROOF

CONCRETE ROOF

ORIGINAL 1929 RECONSTRUCTED 1986

The roof is supported by eight slender cruciform columns that allow you to transmit the sensation of floating on the volume while freeing the interior to allow an open floor plan. Between indoor and projected outward opening canopy, a blurred spatial demarcation where inside becomes outside and outside to inside is created.

ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

—Franz Schulze in Knoll Internatational exhibition catalog, p3.

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STRUCTURE

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THE MATERIALS Glass, steel and four different kinds of stone (Roman travertine, green Alpine marble, ancient green marble from Greece and golden onyx from the Atlas Mountains) were used for the reconstruction, all of the same characteristics and provenance as the ones originally employed by Mies in 1929.

MATERIALS

Mies van der Rohe’s originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly.

FIVE INTERVENTIONS

MATERIALS

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UNDERSTANDING THE MATERIALS OF THE BUILDING

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FLOOR PLAN

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MATERIALS

WATER

The pavilion is designed as a proportional composition in which the interior water two juxtaposed mirrors . The mirror over peque単ao water just behind the interior space allowing light to filter through the interior volume , illuminating the marble and travertine pavers . The mirror largest surface water to supplement the volume, and extending through the rest of the plane outside. Its sleek lines establish a place of solitude and reflection.

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https://c1.staticflickr.com/3/2156/2414157251_7517916d20_z.jpg?zz=1

WATER

FORM + SPACE OF BUILDING

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

POOL-1 POOL-2

MATERIAL

POOL-2 POOL-1

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MARBLE-1

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When exposed to the sun, the travertine is illuminated as if it had a secondary light source that dissolves the natural stone and full of light on the space. These bright qualities inherent in travertine, and the use of material without cracks in the outer socket added to the solution of the territorial demarcation transforming the pavilion into one continuous volume rather than two separate entities. https://dearchiworld.files.wordpress.com/2013/02/b_720_0_0_0___images_stories_users_ arch-_maria_chiara_padiglione_di_mies_2110_barcellona_0107.jpg

MATERIALS

TRAVERTINE MARBLE

MARBLE-1

https://www.bluffton.edu/~sullivanm/spain/barcelona/mies/lfthalf.jpg

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

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WEST EDGE EXTERIOR

MATERIAL

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MARBLE-2

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https://farm1.staticflickr.com/56/135450282_a3396cf9f2_b.jpg

GREEN ALPINE MARBLE

MARBLE-2

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

EAST EDGE EXTERIOR

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MARBLE-3

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"Right from the beginning I had a clear idea of what to do with that pavilion.

But nothing was fixed yet, it was still a bit hazy. But then when I visited the showrooms of a marble firm

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at Hamburg, I said: "Tell me, haven't you got something else, something really beautiful?" I thought of that freestanding wall I had, and so they said: "Well, we have a big block of onyx. But that block is sold—to the North German Lloyd." They want to make big vases from it for the dining room in a new steamer. So I said: 'Listen, let me see it, ' and they at once shouted: 'No, no, no, that can't be done, for Heaven's sake you mustn't touch that marvellous piece." But I said: "Just give me a hammer, will you, and I'll show you how we used to do that at home." So reluctantly they brought a hammer, and they were curious whether I would want to chip away a corner. But no, I hit the block hard just once right in the middle, and off came a thin slab the size of my hand.

GOLDEN ONYX

MARBLE-3

http://readcereal.com/barcelona-pavilion/

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i GuĂ rdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

'Now go and polish it at once so that I can see it."

And so we decided to use onyx. We fixed the quantities and brought the stone."

INTERIOR PARTITION

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MARBLE-4

"In reality, the Barcelona Pavilion was a patch-up structure. Technically Mies was unable to erect the pavilion as a pure 'Dom-ino' structure; the eight cruciform columns alone could not support the roof and a number of extra columns had to be lodged in the double-skinned marble screens to help carry the load.

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ANCIENT GREEN

— Frank Russell, ed. Mies van der Rohe: European Works. p20.

MARBLE-4

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

INTERIOR SPACE

But this makeshift structure did the job Mies asked of it and the plan remained inviolate. He pursued the idea in his model house at the Berlin Building Exhibition of 1931,..."

MATERIAL

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GLASS

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MATERIALS

The glass and steel give frame and cover the walls built with large blocks of marble, which themselves become the “work of art “ pavilion , with its gorgeous colors and patterns. Almost pure minimalist shapes and design features available . The eight cruciform pillars are covered in chrome. Flat cover was made with reinforced concrete .

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GLASS

PROJECT:

OVERVIEW OF FIVE INSTALLATIONS

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

REFERENCE GA-005 S-011 M-019 0-033 I-039

INTERIOR SPACE

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OBJECTS

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OBJECTS

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OBJECTS MADE FOR THE PAVILION

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FLOOR PLAN

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FURNITURE

BARCELONA CHAIR

http://i299.photobucket.com/albums/mm316/skottchun/travel%20with%20frank%20gehry/barcelona_pavillion_13-1.jpg

The overall impression is of a luxurious space created by perpendicular planes in three dimensions.

Complete the work of Georg Kolbe sculpture , consisting of little furniture chairs, with a design by the architect himself , called Barcelona chair , an important milestone in the history of twentieth century design furniture , a red curtain and became black carpet , which combined with the color beige marble wall , make the colors of the German flag .

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BARCELONA CHAIR

MADE FOR THE BARCELONA PAVILION

1929

ARCHITECT Mies van der Rohe

http://miesbcn.com/the-pavilion/images

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INTERIOR SPACE

Stainless-steel bars and leather upholstery

FURNITURE

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SCULPTURE

The sculpture decorating the pond located in the backyard of the pavilion is a bronze reproduction of Georg Kolbe Dawn by contemporary artist to Mies van der Rohe.

DAWN

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It is brilliantly located at one end of the small pond, at a point where not only reflected in water but also in marble and crystals , giving the feeling that is multiplied in space and contrasting curved lines with geometric purity the building. The image of the statue is projected multiple times on water reflections , crystal or marble.

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DAWN

SCULPTURE

1929

ARTIST Georg Kolbe

Av. de Francesc Ferrer i GuĂ rdia 7 Barcelona, Spain 08038

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POOL-2 INTERIOR

The sculpture is a bronze reproduction of the piece entitled Dawn by Georg Kolbe, a contemporary of Mies van der Rohe. Masterfully placed at one end of the small pond, the sculpture is reflected not only in the water but also in the marble and glass, thereby creating the sensation that it is multiplied in space, while its curves contrast with the geometrical purity of the building.

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OVERVIEW

Interventions by plastic artists devised for the Mies van der Rohe Pavilion normally take the form of installations. This programming of the Pavilion’s exceptional spaces brings a unique type of activity to the city. The installations are a way of maintaining an active dialogue and giving sense to the Pavilion’s continuing topicality. A periodicity of 1-2 projects per year is planned, ensuring a proper balance between artistic and architectural contributions. http://miesbcn.com/totes-les-activitats/intervention/

FIVE INTERVENTIONS

5 INTERVENTIONS

TASTE I-200

SMELL I-100

FIVE SENSORY INTERVENTIONS

ORIGINAL 1929 RECONSTRUCTED 1986 ARCHITECT Mies van der Rohe

Av. de Francesc Ferrer i Guàrdia 7 Barcelona, Spain 08038

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BARCELONA PAVILION

ANALYSIS OF WORKS TOUCH I-500

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LOOK I-300

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INTERVENTION-1

ON TRANSLATION : BP / MVDR

ARTIST STATEMENT

How then can the bodily presence of an architect be felt in an arrayof photographs?

On receiving the invitation from the Fundació Mies van der Rohe, I realized that my task consisted of intervening rather than exhibiting, of endowing the Pavilion with another dimension, of activating it in a different way. My research process led me to regard Mies van der Rohe from a personal viewpoint and the Pavilion as a built entity.

The other conceptual and perceptive dimension might be provided by smell as a point of reference.

I decided that these two directions were inappropriate: neither his biography, nor the materials associated with the building– marble, metal, hides, carpets and so on–, nor anything related to its construction.

The architectural report and the written history of the Pavilion constituted the lodestars that led me to react with a specific material: paper. This material forms part of architecture before, during and after the project, which in these times of ‘paperless architecture’ I felt we should remember. The fact that the Pavilion was disassembled in 1930, after its exhibition and use, and reconstructed in the late eighties, poses issues of temporariness and permanence, of decisions and interpretations, all of which are put to paper–correspondence, permits, press releases.This means that the Pavilion –its physical construction– existed when it was built in the late twenties and after 1986, when it was reconstructed.

HYPERLINK

HYPERLINK

http://miesbcn.com/project/muntadas-on-translation-intervention/

ON TRANSLATION BP/MVDR

INTERVENTION-1

5 March 2009 / 5 May 2009

ARTIST Antonio Muntadas

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INTERIOR-1

SMELL

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LOOK

The Pavilion and its Archive

1 For a detailed discussion of the dispersal of materials, see the first chapter of Ignasi de Solà-Morales, Cristián Cirici, and Fernando Ramos, Mies van der Rohe: Barcelona Pavilion.

(Barcelona: Gustavo Gili, 1993), particularly pages 20-21.

FIVE INTERVENTIONS

1. The Mies van der Rohe Archive

Early in 1930, Mies van der Rohe’s German Pavilion in Barcelona started to be disassembled. After some fruitless attempts to sell it locally, nearly transformed into a restaurant, the German authorities decided to return the marble and stainless steel elements to Berlin for their resale. The dispersal of materials extended over different continents. Köstner und Gottschalk, the company that provided the marble slabs, opted to reuse them in Germany. Some fragments of the caramel-colored onyx wall ended up as table tops in Mies’ Chicago apartment and in Sergius Ruegenberg’s home in Berlin.

Philip Johnson acquired one of the chairs for his collection. 1 At this point, the Pavilion’s existence retreated to a sole paper condition, to its archived materials and all the published documents that either reflected its making and presence, or elaborated on its significance in 20th-Century architecture. Mies had been keeping the office archive in Berlin, yet had to leave it behind when he hastily decided to depart for Chicago, in the Summer of 1937. Before the end of the war, his collaborator Lilly Reich, together with Eduard Ludwig – a former student of Mies at the Bauhaus- packed the entire archive in five wooden cases and sent it off to Ludwig’s parents home in Mühlhausen, a small town east of Kassel. This archive included all sorts of documents from the office, as well as from the years of his dedication to the Bauhaus: drawings, photographs, office files, correspondence, journals, competition documents.

2 The fate of Mies’ archive is described in detail in Frank Schulze, Mies van der Rohe: A Critical Biography (Chicago: The University of Chicago Press, 1985): 318-320.

Mülhausen location in East Germany made it impossible to attempt the recovery of the archive, even to consult it,during the Cold War years. Hans Maria Wringler of the Bauhaus archive in West Germany was the first person tocheck the condition of the archive, and Dirk Lohan, from Mies’ office, painfully negotiated for several years the return ofthe crates, that finally arrived in Chicago in 1963. 2

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The project – he conceptual and documentary project– existed on paper during the intermediate period of this continuity. The ‘dissolved’ project, materialised on paper –drawings, photographs and texts– existed for over forty years, during which it was the only representation of the Pavilion.

The Pavilion’s architectural report, filed away, and the phenomenon of its existence over a long period in relation to paper and to printed documentation, led me once again to perception of the smell associated with time, archives, closed space and the olfactory experience.

The divulging and mediatic role of the Pavilion, and knowledge of it through writings, the press and bibliography, which has reached so many people, led me to another type of olfactory proposal.

-ANTONI MUNTADAS

ON TRANSLATION BP/MVDR

3 The Archive at MoMA has been published by Arthur Drexler and Frank Schulze, The Mies van der Rohe Archive. (New York: Garland, 1986).

The meaning of arkheîon as an architectural space is described in detail in the initial chapter of Jacques Derrida’s Mal d’archive (Paris, 1995).

4 Werner Blaser, Mies van der Rohe: the Art of the Structure (Buenos Aires: Carlos Hirsch, 1965).

5 The 1979 exhibit travelled extensively through the United States and Europe, including Barcelona. The catalogue is Ludwig Glaeser’s Ludwig Mies van der Rohe: The Barcelona Pavilion’s 50th Anniversary. New York : The Museum of Modern Art, 1979.

After the 1947 Mies exhibition organized by Philip Johnson, The Museum of Modern Art in New York started to request the donation of the drawings. Mies finally decided to give most of the architectural archive, over 20,000 documents that eventually composed the Mies van der Rohe Archive, formally established in 1968 –the only architectural archive at MoMA, since the rest of the architectural collection is composed of a selection of documents to represent a wide number of designers. MoMA’s decision has conferred to the Mies Archive an exceptional status in the world of architectural collections, the only one to be kept –in isolation– in such an institution.

The Archive, therefore, not only preserves the memory and origins of Mies’ work, but also acts as a place of authority –a true domicile of crucial documents, an arkheîon of Modern design.3 The lack of access to Mies’ European archive sparked several efforts to reproduce some of the documents. In 1965,Werner Blaser produced a set of new drawings in collaboration with Mies himself and his studio, published as Mies van der Rohe: the Art of the Structure. 4 Since the end of World War II, Sergius Ruegenberg, a former collaborator of Mies in Berlin, worked for years on redrawing the Barcelona Pavilion. These documents, together with other drawn versions, and the extensive literature that accumulated on the Pavilion, became the basis for the impulse to rebuild it. Moreover, the Pavilion was presented in a monographic exhibition at MoMA in 1979, curated by Ludwig Glaeser, who had been responsible for the Mies Archive since its creation until 1980, under Arthur Drexler as head of the Departament of Architecture and Design. Even though interest in rebuilding the Pavilion dated as far back as 1959, when Oriol Bohigas wrote a formal letter to Mies seeking his approval for such a project, the concrete decision took place in 1981, shortly after the presentation of Glaeser’s exhibit in Barcelona.5 For decades, the Barcelona Pavilion exerted its influence from a paper condition, from the archival crate in Mühlhausen.

Its reconstruction, from 1982 to 1986, was also propelled by another, very extensive set of documents--the virtual archive of writings, documents and graphic reproductions of the pavilion that have been produced andcirculated during the previous decades.

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5 March 2009 / 5 May 2009

AUTHOR Xavier Costas ARTIST Antoni Muntadas

REFERENCE GA-005 S-011 M-019 0-033 I-039

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FIVE INTERVENTIONS

The Pavilion and its Archive

2. On Translation: Paper BP/ MVDR

6 Mary Anne Staniszewski. “An Interpretation/ Translation of Muntadas’ Projects”. In Muntadas: On Translation. M. Dávila and V. Roma, eds. Barcelona: Actar-Macba, 2002.

7 Laurie Anderson, “About 405 # 1” In Art Forum (September 1973).

Starting in the early 1970s, Muntadas worked on a series of projects described as sensorial experiences that were based on an exploration of the senses of smell, touch and taste, and were then recorded in film, videotape, or through other means.6 One of them, of particular relevance for the project On Translation: Paper BP MVDR, is the olfactory proposal for About 405 East 13th Street.

In 1973, Jean Dupuy invited thirty-four artists to participate in the exhibit. The aim of this collective project titled About 405 East 13th Street. was to intervene, modify or document the interior and exterior spaces of Dupuy’s loft–following a process that he termed as “spatialisation”. In critic Laurie Anderson’s words, it explored the “description and manipulation of several interior, exterior, and interfacial aspects of the loft. The microscopic and telescopic realignments destabilized the conventional subject-object relationship.”7 As an example, Gordon Matta-Clark, one of the invited artists, proposed to simply clean one of several window’s pane of glass, thus subtly modifying the relationship between interior and exterior spaces, a gesture that ensured the introduction of light.

For this same project, Muntadas introduced a standard vertical file cabinet with four drawers, each covered with a photograph of a shopfront in the neighbourhood: “May first 1973, I trought all area between 11th and 14th streets and First and “A’ Avenues.Four spots were considered as characteristic because of their particular smells. These four locations show an itinerary and describe the environment that surrounds 405 East 13th Street.”

The file cabinet included four items, each taken from one of the chosen sites, each with an unmistakable smell–herrings from the foodstore, old books and papers from a second-hand bookstore, candles and incense from a church-shop, and leather products from a shoe repair. Therefore, the spatial itinerary through a section of the city was recorded and reorganized in the file cabinet as an archival gesture to represent spatial perception through four sensorial elements. The smell thus acted as the vehicle to evoke an absent experience that conditioned one’s occupation of space.

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ON TRANSLATION BP/MVDR Even though this was an early project, we find the impulse that later, starting in 1995, has developed into an extensive series of projects under the general title On Translation, investigating the extent to which original manifestations and their translations need each other, cannot be understood without their mutual reference.

Muntadas’ project for the Pavilion, ON TRANSLATION/ PAPER (BP/MVDR) introduces the invisibility of the archive through its olfactory presence –the archive, as well as all the documents about the project, propelled by the project. Within the enclosed space, next to the translucent wall, three small fileboxes index them –including the extensive bibliography, images of the MoMA Archive, the many publications, as sold in any bookstore, even at the Pavilion’s. It could even include, if only available, the documents that were produced –signed– in the Pavilion itself in 1929.

8 From some preliminary notes on the project by Muntadas.

The preliminary research led Muntadas to consider a double reference –the Barcelona Pavilion together with the Rosa Luxemburg monument, commissioned to Mies by the communist party in 1926.

The permanent memorial in Berlin’s Friedrichsfelde cemetery was destroyed seven years later by the Nazis, whereas the ephemeral pavilion has become permanent in its 1986 reconstruction.

The questions about temporality and permanence instigated by these two projects are therefore at the basis of Muntadas’ intervention in the Pavilion –in his own words, “The archived memory of the Pavilion, together with the fact of its long existence in relation to paper and to printed documentation drove me again towards the perception of smell in relation to time, to the archive, to enclosed space, and to olfactive experience”.8 In this case, there is a reciprocal dependance between the built structure and its other, paper-based condition –its memory as embodied by the archive, in its multiple publications and documents.

Muntadas’ intervention makes sensible the other Pavilion –invisible yet perceptible in the olfactory experience of printed, stored paper.

The glass structure thus acts as a bottling device, the recipient that keeps the invisibility of the odour, the evocation of what is absent during our visit to the Pavilion, yet it has managed to propel and shape our interest, our perception of those spaces and materials.

The commanding smell of the archive evidences the ephemeral condition of the marble slabs and the steel columns.

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5 March 2009 / 5 May 2009

AUTHOR Xavier Costas ARTIST Antoni Muntadas

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WITH MLIK_find something everboy can use

Mies van der Rohe’s Barcelona Pavilion stood out beyond all doubt. Its concrete materials weightless, barely held down to the ground. Stone and glass are nothing new to architecture, but now they are lenses and mirrors in which to see an enlightened age.

The pools, blank, along with other highly polished surfaces, a timeless gaze reflecting everything else around the building, the sky and the trees. This is a place where only gods dwell.

Perhaps this view misinterprets Mies ‘work; it left out the modern dream of equality, as well as architecture of living, the needs of every ordinary person. Speaking about design Mies frequently used expressions such as “general solution” and “common language”.

I approach Mies van der Rohe’s Barcelona Pavilion as a readymade, the activities it experienced and the way it’s been seen.

The building is not static, in fact, my intervention explores the metabolism of a living machine. Liquid is replaced because it is part of the building that has always been replaced. In fact, the content of the two pools is replaced all the time, unnoticed to visitors. A pump re-circulates water in the large outdoor pool while the smaller pool is drained every two weeks, the dark glass at the bottom is cleaned and the pool refilled.

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http://miesbcn.com/project/ai-weiwei-intervention/

WITH MILK_ find something everbody can use INTERVENTION-2

9 December 2009/ 30 December 2009

‘my intervention explores the metabolism of a living machine (...).

In fact, the building is not static: the content of the two pools is replaced all the time, unnoticed to visitors’

ARTIST

Ai Weiwei

CURATOR Xavier Costas

REFERENCE GA-005 S-011 M-019 0-033 I-039

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Regular work is done to ensure that the monument appears unchanged, timeless; not forgetting that the entire building stands as a perfect reconstruction. In milk and coffee intervention, the under layer of this monument surfaces and persists in consciousness; it refuses to be flushed away. Up-keeping the condition of milk and coffee is the same as preserving a body, a demanding effort against light, air, warmth… anything encourages growth and change. What is vigor or geometry, clarity of assembly, and enlightened optimism, combined with ordinary everyday life? In its endeavor to correct mistakes of the past, Modernism might have made new mistakes.

Today’s cultural attitude doesn’t mind mistakes; it sets out to move forward unafraid of making new ones.

Ai Weiwei

http://www.annamas.net/index.php/proyectos/view/ai_weiwei_with_milk

WITH MILK_ find something everbody can use INTERVENTION-2

9 December 2009/ 30 December 2009

ARTIST

Ai Weiwei

CURATOR Xavier Costas

REFERENCE GA-005 S-011 M-019 0-033 I-039

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http://www.annamas.net/index.php/proyectos/view/ai_weiwei_with_milk

WITH MILK_ find something everbody can use INTERVENTION-2

9 December 2009/ 30 December 2009

ARTIST

Ai Weiwei

CURATOR Xavier Costas

REFERENCE GA-005 S-011 M-019 0-033 I-039

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We decided to use acrylic to make transparent curtains.

We imagined an installation design that leaves the existing space of the Barcelona Pavilion undisturbed.

Intervention in the Pavilion

The acrylic curtain stands freely on the floor and is shaped in a calm spiral.

The curtain softly encompasses the space within the pavilion and creates a new atmosphere.

The view through the acrylic will be something different from the original with soft reflections slightly distorting the pavilion.

SANAA

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http://miesbcn.com/project/sanaa-intervention/

Intervention in the Pavilion

INTERVENTION-3

11 NOVEMBER 2011 / 18 JANUARY 2012

ARCHITECT SANAA

REFERENCE GA-005 S-011 M-019 0-033 I-039

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http://miesbcn.com/project/sanaa-intervention/

Intervention in the Pavilion

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11 NOVEMBER 2011 / 18 JANUARY 2012

ARCHITECT SANAA

The project will consist of acrylic curtains arranged in a spiral within the pavilion, reflecting and distorting views through the structure.

REFERENCE GA-005 S-011 M-019 0-033 I-039

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A single curving wall comprised of sheets of transparent acrylic winds around the pavilion’s interior, creating a nearly invisible circular space. At first glance we might think of it as “Richard Serra Extra-Lite”, but in fact this work is not about its own material presence, but about subtly, playfully and http://miesbcn.com/wp-content/uploads/2014/05/ramon-prat_04-888x382.jpg

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irreverently distorting our perception of this most canonical of Modernist buildings. If the Mies Pavilion is already a play of reflections, this adds another, radically different, layer of reflection.

11 NOVEMBER 2011 / 18 JANUARY 2012

ARCHITECT SANAA

REFERENCE GA-005 S-011 M-019 0-033 I-039

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PHANTOM. Mies as Rendered Society

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The basement area was deliberately created as a hidden storage and maintenance room. Most visitors to the pavilion are unaware of its existence, so Jaque imagined the things inside it to be like ghosts.

An intervention by Andrés Jaque in the Barcelona Pavilion, a result of research that he has developed over the past two years following the invitation of the Fundació Mies van der Rohe and the Banc Sabadell Foundation. At different points of the Pavilion’s space, an important part of the objects that are kept in the basement on which it sit are arranged. A basement, presented as the ghost of the Pavilion (PHANTOM) that had never before attracted the attention of those who visit or study it and to which, however, Jaque recognizes an important role in the emergence of its architecture as social construction.

The team in charge of the reconstruction of the Pavilion in 1929 thought the basement would facilitate the registration and maintenance of its facilities, but also decided that access should be difficult in order to avoid, in the future, that it ended up being used as an exhibition space explaining Mies and the pavilion. In the basement one can find all those material witnesses that reflect the social fabric affected by a common project: reinterpreting every day the May morning in which the 1929 Pavilion opened. The basement, like the portrait of Dorian Grey, contains

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http://www.sightunseen.com/2013/01/phantom-mies-as-rendered-society-by-andres-jacque/

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13 December 2012 / 17 Feburary 2013

ARTIST AndrĂŠs Jaque

REFERENCE GA-005 S-011 M-019 0-033 I-039

http://www.metalocus.es/sites/default/files/file-images/phantom-mies-as-rendered-society-mies-van-der-roheby-andras-jaque-architects-office-for-political-innovation-model-title-web.jpg

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everything that makes one see the Pavilion as a monumental collective construction. But it is hidden to avoid diminishing the illusion of an unmediated reception by an enlightened hand, that of the Mies who worked in Barcelona in 1929. The basement holds the public ghost (PHANTOM, referring to Walter Lippman’s important text: The Phantom Public, New Jersey, 1925-) of the companies that every day contribute to the manufacture of the Pavilion.

As Mies himself noted, architecture is built in the way that the visible shapes what is hidden. The Barcelona Pavilion is an arena of confrontation organized in a two-story architecture, in which two interdependent notions of what is political compete. A bright top floor, which reactivates foundational notions of politics (in which the extraordinary, the origins and essences lead what is common) and a dark basement, that builds it through contingencies and interim agreements. The above one is physically transparent, but it hides the social pacts in which it happens, to give access to a daily incalculability experience.

The bottom is opaque; however, it is where contracts, experiments and disputes that build the

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13 December 2012 / 17 Feburary 2013

ARTIST Andrés Jaque

REFERENCE GA-005 S-011 M-019 0-033 I-039

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Pavilion gain transparency. The Pavilion, in the way its twostories operate, builds a belief: ‘that which is exceptional emerges in the absence of the ordinary’.

The intervention departs from the suspicion that the recognition and re-articulation of the two fields can provide new possibilities in which architecture finds answers to contemporary challenges.

PHANTOM. Mies as Rendered Society

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ANDRES JAQUE

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13 December 2012 / 17 Feburary 2013

Alongside domestic cleaning tools such as a vacuum cleaner, Jaque has found a number of items that reveal traces of the building’s history, not just from its reconstruction in the 1980s but dating back to its original opening in 1929.

ARTIST Andrés Jaque

REFERENCE GA-005 S-011 M-019 0-033 I-039

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For the exhibition, entitled PHANTOM. Mies as Rendered Society, the architect presents each previously concealed item with a detailed description of its history. Several pieces of broken glass show early attempts to match the shade of the original windows in the Carpet Room, while a stack of cushions reveal how many visitors have sat on the iconic Barcelona chairs, wearing them out so that they need regular replacing.

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13 December 2012 / 17 Feburary 2013

ARTIST Andrés Jaque

REFERENCE GA-005 S-011 M-019 0-033 I-039

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PHANTOM. Mies as Rendered Society is an intervention created by Andrés Jaque at the Barcelona Pavilion, resulting from the research which Jaque has carried out over the last two years, at the invitation of the Fundació Mies van der Rohe and Banc Sabadell Foundation.

A significant portion of the items which are safeguarded in the basement upon which the Pavilion was built have been distributed at different locations throughout the Pavilion space. This basement is presented as the Pavilion’s ghost (PHANTOM), which had never drawn the attention of people who came to visit and study the Pavilion, but for which Jaque acknowledges an important role in the emergence of his architecture as a social type of construction.

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The team responsible for reconstruction of the Pavilion of ‘29 thought that the basement would facilitate the control and maintenance of its installations. It also decided that entry should be made difficult so as to avoid its future use as an exhibition space in which Mies and the Pavilion were explained. In the end, the basement has been used to store all of the material witnesses which provide an account of the social fabric involved in a shared project: every day reinterpreting the May morning on which the Pavilion of 1929 was first opened.

The basement, like the portrait of Dorian Grey, contains everything that makes it possible to see the Pavilion as a monumental collective construction. However, it is concealed so as not to diminish the illusion that the product was received directly from an enlightened hand, that of Mies, who worked in Barcelona in 1929. The basement still houses the phantom public: a reference to the well-known text by Walter Lippman ‘The Phantom Public’ (New Jersey, 1925), from the societies which contribute to creating the Pavilion on a daily basis.

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13 December 2012 / 17 Feburary 2013

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Andrés Jaque

REFERENCE GA-005 S-011 M-019 0-033 I-039

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As Mies himself pointed out, architecture is built in such a way that what is visible conforms that which is hidden. The Barcelona Pavilion is an arena of confrontation organized in the form of a two-story building, in which two interdependent notions of the political lie in dispute.

The well-lit upper floor revives foundational concepts of the political (in which the extraordinary, origins and essences lead the way for that which is common), while the dark basement was constructed using contingencies and provisional agreements. The upper floor is physically transparent, but it conceals the social pacts which occur inside, to provide access to an experience of everyday ‘incalculability’. The lower floor is opaque, yet it is the place where the contracts, experiments and disputes which construct the Pavilion gain transparency. The Pavilion constructs a belief through the way inwhich its two floors operate: ‘the exceptional emerges in the absence of the ordinary.’ The intervention is based on the suspicion that the recognition and rearticulation of these two spheres can contribute new possibilities in which architecture finds answers to contemporary challenges.

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A project by Andrés Jaque, invited by the Fundació Mies van der Rohe and the Banc Sabadell Foundation.With the collaboration of:Paola Brown, Ana Olmedo, Ruggero Agnolutto, Roberto Gonzalez, Jorge Lopez Conde, William Mondejar, Silvia Rodriguez, Dagmar Villarmea Stéeova and Paloma.

13 December 2012 / 17 Feburary 2013

ARTIST Andrés Jaque

REFERENCE GA-005 S-011 M-019 0-033 I-039

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Transient Senses

Transient Senses is a project by Alex Arteaga about architecture, understood in its most basic definition of structure, form, and materiality. The project takes different formats and occupies several venues in the city. For LOOP Festival 2015 Alex Arteaga is screening a video essay at Mies van der Rohe Pavilion that is to take place on Tuesday 2 June 2015, 22h.

The installation uses Bloomline Omniwave speakers, which create so-called “three dimensional� sound that fills the space and can be heard equally in all directions, so that it is impossible for the listener to determine the position of the speakers.

http://miesbcn.com/project/alex-arteaga-transient-senses/

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29 April 2015 21 June 2015

ARTIST Alex Arteaga

CURATOR LluĂ­s Nacenta

REFERENCE GA-005 S-011 M-019 0-033 I-039

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Alex Arteaga ’s sound installation transient senses is part of a collaborative project between Sónar+D, the Fundación Mies van der Rohe, Goethe Institut of Barcelona, Fundació Tàpies and the Art and Design Research University Máster (Eina and UAB), the Fundación EINA and Loop Barcelona. The piece, which has been produced specifically for the Pavilion, has been conceived as a sonic reflection on its architectural nature. Despite its marble walls, the Pavilion acts as a series of interruptions and transparencies of the space.

Light, air and sound cross it.

The installation transient senses plays with this auditive transparency of the architectural space. Is it possible to narrow or widen walls by sonic means and make them acoustically translucent? The installation uses Omniwave speakers by Bloomline – a pioneering model of speakers equipped with a convex membrane instead of the usual concave membrane, which disseminates sound in an almost spherical wave.

ALEX ARTEAGA

http://loop-barcelona.com/transient-senses-by-alex-arteaga-mies-van-der-rohe/

Transient Senses

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29 April 2015 21 June 2015

ARTIST Alex Arteaga

CURATOR LluĂ­s Nacenta Links sonar +D www.architecture-embodiment. org

REFERENCE GA-005 S-011 M-019 0-033 I-039

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ABOUT THE ARTIST / CURATOR ALEX ARTEAGA’s research

integrates aesthetic and philosophical practices relating to the production of knowledge, the emergence of sense, architecture, and art practice through phenomenological and enactivist approaches.

He studied piano, music theory, composition, electroacoustic music, and architecture in Berlin and Barcelona, and received a PhD in philosophy from the Humboldt-Universität zu Berlin.He currently heads the Auditory Architecture Research Unit and the Department of Auditory Architecture in the masters program of sound studies at the Berlin University of the Arts, where he is developing the three-year research project Architecture of Embodiment as an Einstein Junior Fellow.

Transient senses is incardinated within a broader framework of work called Architecture of Embodiment, in which the author reflects on one of the fundamental principles of enactivismo: “ living is sensemaking “ (Varela, 1991). Under this premise wonders Arteaga Can architecture be understood as a condition for the emergence of sense? If so, how architecture affects the emergence of sense? With this and other issues converses transient senses , a sound intervention on the edge of transparency, offers an experience that values ​​ the ambiguity of its joint space inside and outside.

coordinates the project with Alex Arteaga. Nacenta is a teacher, writer, and a researcher of music and sound design.

He possesses a degree in mathematics, a superior title in piano, a Masters in Studies of Comparative Literature, Art and Thought, and a Doctorate in Humanities; his research proposes a philosophical interpretation of sound art.

He is a professor of the Masters University of Research in Art and Design and of the Degree of Design at Eina.

LLUÍS NACENTA

http://arteelectronico.net/transient-senses-alex-arteaga/

Transient Senses

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29 April 2015 21 June 2015

ARTIST Alex Arteaga

CURATOR LluĂ­s Nacenta

REFERENCE GA-005 S-011 M-019 0-033 I-039

WALLs

LISTEN/ HEAR

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ALL DIAGRAMS

LOOK

FIVE INTERVENTIONS

CONCLUSION

CLOSING CHAPTER

ALL DRAWINGS

REFERENCE GA-005 S-011 M-019 0-033 I-039

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