Another important role that is being played in the Villa Reihls is that of dualism, between two different facades. Also there is an ongoing debate between symmetry or asymmetry, although the front fazade of the house is a formally symmetrical area which is very carefully and mathematically planned the entire house is situated very asymmetrically on the lot and from the side elevation the upper level of the house seems to be set asymmetrically on the lower level. "In the Villa Reihls [Mies] aimed at unifying nature and human consciousness - (Neumeyer, 33).
In 1929 Mies submitted an entry for the German Pavilion in the Barcelona Exhibition. This would be the ultimate job for Mies; he would not be hindered by insufficient funds or functional requirements. He was able to build a structure that was put together after years of ideas that there wasn't enough money for, or that the client wouldn't have. Critics have seen in the hovering roof and open plan a reflection of Frank Lloyd Wright's prairie houses; in the disposition of the walls, the influence of de Stijl; or in the elevation of the structure on a podium, a touch of Schinkel. The Barcelona Pavilion has been acclaimed by critics and architects alike as one of the milestones of modern architecture (Johnson, 58). The design that Mies used was one of very simple ingredients that made a very rare delicacy. .
There are many differences between the Villa Reihls and the Barcelona Pavilion however there are also several similarities. Mies brings back the dualism he introduced in the Villa Reihls to the Barcelona Pavilion only this time he brought the dualism to a higher resolution on a different level. In the Villa Reihls Mies is using the information he knows about .
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building that he has learned from being the son of a stonemason. When he designed the Barcelona Pavilion twenty-two years later he used design pieces that he had learned throughout the years from the architects of ancient times and also design details from his peers.
