FUTURE MATERIAL
THE ROLE OF MATERIALITY
Materiality in architecture is the concept of, or applied use of, various materials or substances in the medium of building.
Materiality in architecture is not limited to theoretical positions on the perceived materiality of images, texts, or other objects of representation. It may refer to the materiality of specific projects, where one would need to consider the full range of materials used which more to functional purpose.
A Malay traditional house in Kedah, adorned with distinctive carved panels of the northern Malay peninsula.
THE ROLE OF IMMATERIALITY
Immateriality is focus on more into human perceptive expression such as conceptualise buildings rather than build them, or rather, works in the immaterial rather than the material.
Immateriality building concerned about how the five sensory connected to the people, building, environment, eg: visual/ sight, noise, smell, touch and taste.
Thorncrown Chapel
For me, materiality and immateriality predominantly about the expression of material properties, the transformation of materials, human perception, and value judgement, it is combination of these.
I believe immaterial is as important as the material, they are inseparate.
“My concern is not the immaterial alone or the immaterial in opposition to the material. Instead I advocate an architecture that embraces the immaterial and the material.”
Hill
More recent approaches deploy materials as mediators or activating agents that probe the relationship between audience/user and physical environment: Spatial investigations with phenomena-producing materials such as water, light, colour and temperature experiment with the viewer’s experience (Eliasson); responsive high-tech materials interact with audiences (Spuybroek); weather architectures (Hill), or atmo architectures (Sloterdijk) technologically re-create nature as spatial experience (Diller and Scofidio).
Example 1:
Materials can give rise to seemingly incompatible connotations: photographic representations of Zumthor’s atmospheric concrete spaces reveal unexpected links with the post-industrial spaces of power plants and cooling towers (Ursprung).
All these approaches probe boundaries - between material and immaterial, art and science, practice and theory, representation and experience, tradition and innovation, and producer/object/user, giving rise to the following concerns:
What is the validity of different approaches to materiality in relation to the vital problems of our time?
Can materials be deployed to create environments which predict user behaviour and control social relations and experiences?
What trans-historical correspondences can be detected in contemporary?
In other words, the argument be about today's architecture in relation to materiality and immateriality could be the FUTURE MATERIAL which in other form or methods.
MATERIAL INTO IMMATERIAL AND THEN TOWARD ENVIRONMENTAL ARCHITECTURE SUCH AS WEATHER ARCHITECTURE THAT USING LIGHT, WIND, HAZE, RAIN AND OTHER FORM OF "FUTURE MATERIAL" THAT COULD CONTRIBUTE TO OUR BUILDING BETWEEN USER AND ENVIRONMENT.
Example 2:
Weather as architecture
To build a structure in which clouds form as a direct consequence of the fabrication and siting is a wonderful thing. To make the clouds a functioning element of the building is just magical. Tetsuo Kondo Architects have produced something rich and strange: a perfect, simple structure, belying an astonishing phenomenological richness in which every sense is extravagantly serenaded. Manifest poetry, sublimely executed.
With the advent of internet and the spreading of informetion as never seen before, we are discovering other dimensions of our origins. People are looking for their own beliefs, based on new values, able to consider better the immaterial surfaces of the matter. And for that we need to perceive on a higher level, exploring sensibility with more awareness, being able to capture more meaning, beyong the 5 senses as we knew it
