Materiality and Immateriality
The role and importance of materiality thus includes much more than structural properties but equally informs a person’s experience of a building through its aesthetic, visual and haptic qualities as well as its associated social, cultural and historical meaning. Both constructive and ornamental elements represent fundamental parts of a larger assembly, whether obviously appealing or on a more subliminal level. Applying the right materials therefore represents a truly demanding task and requires not only knowledge and experience on the various material properties, but also sensitivity and intuition in anticipating their meaning and value over time; a combination, which paired with a clear understanding and interpretation of the term appropriate, might essentially distinguish good from bad architecture.
Immaterial is unimportant under the circumstances. We tried to conceptualize the idea into designs by manipulating material to achieve spatial aim. The relationship with user is crucial space only develops from being a void if there one to perceive it. There are many ways to understand immaterial architecture – as an idea, a formless phenomenon, a technological development towards lightness, a programmatic focus on actions rather than forms.
From my understanding about materiality and immateriality, I think that good architecture design is with sensuous. “When I succeed in bringing out the specific meanings of certain materials in my buildings, meanings that can only be perceived in just this way in this one building.” Said Peter Zumthor. If the building added in the immateriality concept, it would be easily show out the meaning of it to the users or tourists. Here, I give some examples to prove my thinking.
Jewish museum, Berlin
The museum made some space that was enclosed or void to give the human imagination a glimpse into what could be lying inside. Sound also is immaterial, that it cannot be seen except through its consequences, and they used in the museum. It created the feeling to the tourist (Jewish people) when they passed by the space, and bring back them to the time of world war II. I think that light cannot miss out in this museum. The relationship between the form and function of the space is established not only in the quality of the form, but all above through a sequence of voids or transparent textures (like glass), which defines the internal space of the architecture object, both in the sense of illumination, lightweight materials and the architectural view or itself.
Video of Daniel Libeskind Jewish Museum
A light and airy pavilion
Japanese architect sou fujimoto has designed a light and airy pavilion for the 2013 serpentine gallery in London. A porous steel cube is iteratively repeated in all directions, creating a three-dimensional grid or “space frame” that could withstand the most violent of storms. “the fine, fragile grid creates a strong structural system that can expand to become a large cloud like shape, combining strict order with softness,” fujimoto says in a statement. Seen from a distance, the pavilion seems more like land art. But visitors can actually walk into the sculpture and perch themselves on raised platforms while enjoying a coffee or a conversation. It is an elegant solution that comfortably accommodates human occupants while not tarnishing the heady purity of Fujimoto’s geometric concept.
Materiality is infinite, but combined immateriality, architecture becomes more meaningful and challenging preconceptions about architecture. There are thousand different possibilities in one material alone, not need confined to the own use of it, it could be change. Make the building not only is the building, it is an art or the interesting place to stay.