Bora Malko

The Barcelona Pavilion, or differently known as the German Pavilion, was supposed to be the face of the German side of an international exposition in Barcelona with the burden of representing a worldwide modern movement in architecture as well as a cultural evolution of the post war Germany itself. What differed the building from its neighbors was what eventually became its own architectural ethos of the modern world. In contrast with the other exhibition spaces, the Barcelona Pavilion was not intended as a housing space of art and sculpture but rather as a building of tranquility whose lack of exposition was exactly what transformed it into an inhabitable sculpture. Indeed, this building by Mies van der Rohe manages to separate itself in many specters from the context surrounding it, creating atmospheric effects that seem to occur in a vacuum which dissolves all consciousness of the surrounding, vibrating city.   The pavilion is well known for its transition spaces developmen

     Here I have decided to share some of my assignments during my online certified course "Architectural Imagination" from Harvard.  Prompt 1  :  In  one to two paragraphs , reflect on how the idea of perspective orients the viewer and helps construct  a specific understanding of the Renaissance architectural imagination .  Review the prompt and the following images of Brunelleschi's church of San Lorenzo.       While considering Brunelleschi's church of San Lorenzo we can deduce that linear perspective plays a major role on its construction. Argan analyzes the church on his essay as "a construction of a succession of imaginary planes seen in perspective from the foreground to the horizon" from which we can rightfully assume that perspective was a fundamental key of this building on Brunelleschi's mind way before it came to its final state. And from Argan's own words, this perspective which is the process we arrive to proportion, indeed dete