ARTICLE READING 

Architecture is expected to be solid, stable and reassuring – physically, socially and psychologically. In today’s world, when we talk about a building, we often mention the exterior facade, form, and materials, because these key factors are what we normally look at a building. Materiality is all about the use of natural materials and using suitable materials to construct buildings. Materiality buildings that exposed the structure materials, expressing the materials properties, giving us great understanding about the use of material in construction, allowing us to visibly see and touch the architecture. I always thought this as a straight forward way of interacting with architecture, just like how we meet someone, we look at them (we see them) then we shake their hands (we touch them).

 

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The Ningbo Historic Museum designed by Wang Shu, was constructed using a traditional technique called wapan, in which multiple elements of different sizes, such as, roof tiles, pebbles, blocks and bricks are packed together to create a stable structure. By incorporating elements such as salvaged tiles into their architecture, the architect is making a statement against China’s rapid modernization and relatively faceless architecture character. The materials used point towards a desire to follow the traditional Chinese concept of uniting human and nature. The architect employed the language of valleys, caves and streams to shape the mass of the building, while the natural colors of masonry facades further enhance the museum connections to surrounding.

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The architectural and the material are considered inseparable. But Jonathan Hill, architect and architectural historian, argues that the immaterial is as important to architecture as the material. There are many ways to understand the value of immaterial architecture. As an idea, a formless phenomenon, a technological development towards lightness. Before entering architecture degree course, I always believe that architecture is all about designing the form and function of buildings using different kind of materials in a unique way, until I studied about Le Corbusier’s most unusual projects of his career, Notre Dame du Ronchamp, or more commonly referred to as Ronchamp, then I realized the importance of how people feel about the space, and how the space enhanced the spiritual touch to the user’s experience, something we can’t visibly see or touch directly.

 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In 1950, when Corbusier was to design Ronchamp, the church reformists wanted to clear their name of the decadence and ornamental past by embracing modern art and architecture. Spatial purity was one of Corbusier’s main focuses by not over complicating the program and removing the typical modern aesthetic from the design. Corbusier wanted the space to be meditative and reflective in purpose. The stark white walls add to this purist mentality that when the light enters into the chapel there becomes this washed out, ethereal atmosphere. The effect of the light evokes expressive and emotional qualities that create heightened sensations in tune with the religious activities.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 I believe that both, the role of materiality and immateriality in architecture is equally important and both should not be just divided into two different topics, but rather, combining both values and qualities together, from material to immaterial, exploring more new possibilities in architecture. Other than showing materials, I think at the same time, a good architecture should be able to enhance the atmosphere and the feelings of the users.

 

“A good building should have a soul.” - Peter Zumthor.