immateriality in architecture
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The document explores the concept of immaterial architecture, emphasizing the interplay between materiality and perception in design. It discusses how architecture can evoke sensory experiences and emotional responses, transcending mere physical presence through ideas and representation. Historical references, such as Hindu temple placement and Daniel Libeskind's museum designs, illustrate the significance of immaterial qualities in spatial engagement and architectural storytelling.
immateriality in architecture
- 1. IMMATERIAL -THEORY OF DESIGN BY RAJESH KOLLI kollirajesh888@gmail.com
- 2. IMMATERIAL : Meaning:- o Un-important under the circumstances; o Philosophically spiritual rather than physical. o Realm of ideas, a formless phenomenon o Perceived absence of matter Architects are manipulators of perception We tried to conceptualize the ideas 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. In renaissance, 18th century, the buildings were connected to the immaterial through the ideas it presented, which had much to do with form and little to do with the matter(material) and hence an architect transcended from being a manual (or) skilled labor to the intellectual level of practice through the medium of drawings as a representation of ideas. • The heightened interest in “materiality” – the experienced “reality” of materials-led to a search for complimentary properties of : ”IMMATERIALITY.”
- 3. Immaterial is an idea where material is an object. The immaterial in man is the expansive form inherent in him A building is expected to be solid, stable and reassuring – physically, socially and psychologically – bound to each other, the architectural and the material are considered inseparable. When we define a space , we try to describe its characteristics with “what it is?”, but not with “what it is not?” Architecture is something more than the management of natural and social situations, we except to find a justification for this claim in philosophical aesthetics / theories.
- 4. The richness of the user’s experience of any building depends on awareness of all the senses, but immaterial architecture may trigger a sense more often associated with the immaterial, such as smell and touch. The experience of immaterial architecture is based on contradictory sensations, and is appropriate to an active and creative engagement with architecture. The complexity of whole experience depends upon the user’s interpretation of what is present and absent. 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. Focusing on immaterial architecture as the perceived absence of matter more than the actual absence of matter. It dependent on perception, which involves creative interpretation, fictions rather than facts.
- 5. The user decides whether architecture is immaterial, but the architect creates conditions in which that decision can be made. Both are creative. Coupling of ideas and forms, the immaterial is sometimes associated with the formless, from which some of its fascination derives. But the formless is not absence of order, it is order that is unrealized. The soul must be immaterial, which belongs to being whose thoughts are not confined to the words ‘here’ & ‘now’, but are able to abstract from every limitation…..by St. Thomas in – Natural Longing For Unending Existence. On a fundamental note, immaterial architecture revels in qualities – the subjective, unpredictable, [porous and ephemeral – that are contrary to the solid, objective and respectable practice expected of a professional. THEORIES 1. Vastu purusa mandala / tradition / nature 2. Sound / memory / lighting / virtual 3. Solids-voids: The presence of holes is formed by the absence of paper. Each hole marks the absence of of a section of the text but not an absence in meaning because the reader can either identify the missing word / select a new one to make it meaning.
- 6. VASTU PURUSA MANDALA : • We tend to follow vastu shastra designing of house • The allocating of spaces according shastra now a days belived as some spiritual but not as an important science factor. • Eg: we place kitchen at South-East direction, so that it gets more sunlight to dry as it is a wet area. • So, following vastu purusa mandala is an immaterial sense which an order in space while designing home.
- 7. SOLIDS & VOIDS • Space defined and enclosed by boundaries or perimeters, is more than a 3-dimensional cartesian X-Y-Z matrix, but a material & immaterial identifiable entity, the existence of which depends on varieated material and immaterial, such as imaginery, yet definitive lines implied by edges, columns or other frames. • a set of 9 miniature concrete buildings playing with volume and voids. • “Each piece is an individually complete space defined by volumes and voids that give the human imagination a glimpse into what could be lying inside. The nine pieces from this first set can put together around the central ‘Kund’ to create a community space.”
- 8. SOUND & SILENCE • When we put our ear up against the any metal/surface, we feel the vibrations, sense the sound emanating. • The sound materializes not merely through human ears but in connection with a physical attachment of listening to it when the ‘vibrations on a surface’ materializes silence into sound. • As silence is the absence of sound. • So, sound is immaterial, that it cannot be seen except through its consequences. • Silence is immaterial , through the absence of sound, so it focuses increased attention on the senses and materials present .
- 9. LIGHT • The relationship between form and function 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 architectural object, both in the sense of illumination, lightweight materials and the architectural view of itself. • Eg: glass usage in Gothic architecture
- 10. Example:- A VAPOROUS FOLLY BUILT OF STEEL AND ARCHITECTURAL INGENUITY 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 steel members are arranged in an irregular, amorphous shape, almost as if the algorithmic sequence was cut off before completing its full course. "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’s an elegant solution that comfortably accommodates human occupants while not tarnishing the heady purity of Fujimoto’s geometric concept.
- 11. WHY MANY OF THE HINDU TEMPLES ARE CONSTUCTED NEAR WATER BODIES? A temple is usually designed like a home/ palace in resemblance of god’s residence. The appropriate site for a temple, suggest ancient Sanskrit texts, is near water and gardens, lotus and flowers bloom, where swans, ducks and other birds are heard, where animals rest without fear of injury or harm. These harmonious places were recommended in these texts with the explanation that such are the places where gods play, and thus the best site for Hindu temples. Temple at Badami The gods always play where lakes are, where the sun’s rays are warded off by umbrellas of lotus leaf clusters, and where clear waterpaths are made by swans whose breasts toss the white lotus hither and thither, where swans, ducks, curlers and paddy birds are heard, and animals rest nearby in the shade of Nicula trees on the river banks. The gods always play where rivers have for their bracelets the sound of curlers and the voice of swans for their speech, water as their garment, carps for their zone, the flowering trees on their banks as earrings, the confluence of rivers as their hips, raised sand banks as breasts and plumage of swans their mantle. The gods always play where groves are near, rivers, mountains and springs, and in towns with pleasure gardens. — Brhat Samhita 1.60.4-8, 6th Century CE
- 12. Daniel Libeskind believes passionately in an eloquent architecture that tells stories rooted in history. His lecture looked at how several of his projects — in Manchester, Poland, Italy and the US — communicate with the souls of visitors The Imperial War Museum North in Old Trafford, Manchester, underlines Daniel Libeskind’s belief that buildings should tell a story. Here, the tale is about war and conflict. This is not a museum about peace, but of the struggle to attain it and how in this struggle the world becomes fragmented The museum comprises three interlocking shards. The Earth Shard forms the museum space. The Air Shard holds exhibition, observatory and education spaces. The Water Shard, with its restaurant, deck and performance spaces, forms the platform for viewing the Manchester Ship Canal. These three shards — Earth, Air and Water — show how war has been fought on the ground, in the air and at sea.
- 13. Daniel spoke “My aim was to create a building not just programmed for the events which would take place inside it but one that also emotionally moved the soul of the visitor towards a sometimes unexpected realisation. Conflict is not simply a story with a happy or unhappy ending but is an ongoing momentum which structures one’s understanding of the past and of the future to come.” “I wanted the museum to speak to visitors with dramatic yet simple forms,” explained Libeskind, speaking last month at the 15th British Cement Association Berthold Lubetkin Memorial Lecture, organised by The Concrete Centre
- 14. This is a list of Christian cross variants. The Christian cross, with or without a figure of Christ included, is the main religious symbol of Christianity. A cross with figure of Christ affixed to it is termed a crucifix and the figure is often referred to as the corpus (Latin for "body"). The Greek cross, a cross with arms of equal length, as in a plus sign, was in common use by the 4th century. The standard Latin cross, a cross with an elongated descending arm, is most common. Latin cross Roman cross These symbolisms can be seen in the Christian buildings
- 15. Hiroshima Peace Memorial commonly called the Atomic Bomb Dome in Hiroshima, Japan, is part of the Hiroshima Peace Memorial Park and was designated a UNESCO World Heritage Site in 1996. The ruin serves as a memorial to the people who were killed in the atomic bombing of Hiroshima on 6 August 1945. Over 70,000 people were killed instantly, and another 70,000 suffered fatal injuries from the radiation. Today we can very much see the chaos and emotion of the tragey in the building.not only the ideation Behind the building tells the immateriality but also the sentiments of the building with respect to the people and the influence it make also becomes a part of the building which are not physical in nature.
- 16. Jewish Museum, Berlin s one of the largest Jewish Museums in Europe. In three buildings, two of which are new additions specifically built for the museum by architect Daniel Libeskind, two millennia of German-Jewish history are on display in the permanent exhibition as well as in various changing exhibitions. The museum is a homage to Jewish people, and the assaults on them during the world war II, it is a vague interpretation of holocaust and how the refugee were feeling during their exile from Germany to various parts of Europe. How they were mistreated and the humiliation they went through for equal rights. These were the key ideads behind this work of art of an architecture.
- 17. the new design, which was created a year before the Berlin Wall came down was based on three conception that formed the museum’s foundation: first, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens of Berlin, second, the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, that only through the acknowledgement and incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.” A line of "Voids," empty spaces about 66 feet (20 m) tall, slices linearly through the entire building. Such voids represent "That which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes
- 18. HOW CAN ARCHITECTS MANIPULATE PERCEPTION? • The idea of a home is not necessarily associated with a physical house. • Material & immaterial cannot be separated as physical and space, mood it creates. • Architect Jonathan hill says architecture are objects that tickle our visual senses and not function. • It is a tool, a device for interpretation to occur.
- 19. CONCLUSION: Immaterial architecture that advocates an architecture that fuses the material and the immaterial, consider its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use..…so that they are in conjunction not opposition i.e. material properties such as heaviness / opacity, together with immaterial properties such as lightness / translucency. Finally, an architecture that is immaterial and spatially porous, as well as solid and stable where necessary, will not change established habits. Rather it may offer those habits with greater flexibility.
- 20. THANK YOU BY RAJESH KOLLI kollirajesh888@gmail.com REFERENCE: Book – Immaterial Architecture…by Jonathan Hill Book – Weather Architecture…by Jonathan Hill Article – Immaterial Materials : Materiality & Interactivity In Art And Architecture…by Jonathan Hill & Philip Ursprung Book – Persistent Modelling : Extending The Role Of Architectural Representation…by Phil Ayres Book – The Re-Use Of Urban Ruins : Atmospheric Inquiries Of The City…by Hanna Katharina Gobel Book – Materializing The Immaterial : The Architecture Of Wallace Cunningham…by Joseph Giovannini