The Importance of Materials, Light, Space and Geometry in Minimalist Theories - Essay Example

The Importance of Materials, Light, Space and/or Geometry in Minimalist Theories Name: Grade Course: Tutor’s Name: Date: The Importance of Materials, Light, Space and/or Geometry in Minimalist Theories Bringing light to interior spaces is among the fundamentals facts of architecture. Architectural pieces like the Pantheon are perceived as the culmination of architecture based on the symbolism to the universe’s elements such as form, space and light1. The pantheon succeeded in capturing the conception architects and the general society have regarding the universe by allowing light to filtrate the interior from above, while its dome gives one a glimpse of heavens above and hence the impression of a spherical space. Notably, in architecture, the cyclical patterns of the sun provide architects with a framework for planning and orienting buildings2. For architectural designers, light is an important tool used in the creation of environments that give future occupant of such interior environments stimulation, pleasure and even emotional connection. Notably, as the world moves around the sun, the light given forth by the sun is swayed in different locations depending on the geography of a specific area and the weather. Consequently, the light and shadows that fall on surfaces reveals new dimensions to architects, which can be used for future constructions3. In design, materials give the artist the mass they need in order to create a resemblance of the real model he/she has in mind. Often, artists use everyday, smooth material, which can be distorted, bent, folded or inclined during assemblage in order to create stereometry4. This means that the model gains materiality and the artists can then gauge the viability of the model based in the form. Materials used in the creative process help the designer to express the direction of his imagination, and when this is done, he gains that concept that the concept can overcome architect-related obstacles. In most cases, the designer sketches the model on paper for planning purposes. However, using materials during the planning stage allows the designer to integrate third dimension aspects into the representation of the model. This is despite the reduced form and streometry of the representation5. Notably however, downscaling materials in architecture for illustration purposes can only be attained linearly for specific aspects. With an exception of pure geometry, linear downscaling applies to all aspects of architecture6. This means that the materials, structure, colour or the ornaments used in the small representation of actual design cannot be reduce to a satisfactory size. Usually, this becomes apparent when the final appearance of the actual architectural piece has been attained. Surface finishes and the materials used therein are especially challenging to attain the real representation of an earlier design model. Since the architectural user is always a key concern to the designer, the eye level of people in relation to the size of the architectural piece is always a key concern for most designers7. The human eye usually perceives buildings from a distance, thus allowing the person to gain a long-range view of mass-model proportions. Once the person is able to access the interior of the building, he or she experiences the materiality and the quality of the architecture. The fact that the people can note and compare differences between the real building and the model presented to them by the designers earlier means that the designers need to find materials for use in the model, that have the capacity to act as suitable substitutes to the real building. Accordingly, the materials used should give the miniature form a distinctive character, which the designer and the constructors are able to replicate in the real construction. One of the identified materials viable in creation of architectural models is the Plaster of Paris8. The surface structure in the Plaster of Paris is hardly noticeable, and it has an inconspicuous colour making it a neutral material for use during design. However, one of the main challenges of using Plaster in design is its sensitivity to moisture and other forms of mechanical damages. This raises the need for designers to choose other materials such as wood. The ambiguity of space use and the limitations posed by materials available for use in architecture pose challenges in how designers and architects express themselves. Unlike what most people think, space is not a creation of light or lack of it, but rather, space is attained by the correct use of form and text9. Borrowing from Tadao Ando who defines his architecture a s a form of betrayal10, it is apparent that space can be produced using free, angular and continuous configurations or through changes in darkness, light closed or open intermediate spaces. To match the minimalist theories, Tadao Ando uses narrow passages, flight of stairs, gates, descending or sunken walls in order to create space. He also uses geometry to produce logical order between form and spaces. Ando believed that geometry is among the key factors that crystallised architecture11. To attain perfect geometry, some of the basic form in geometry such as squares, rectangles, triangles and circles are used. Architects like Ando, try to bring nature into the interior through allowing light and wind inside their architectural creations using geometry. Ando argues that using perfect geometry allows him to restore unity between the building interiors and nature, something that he says is usually lost during construction12 . This is especially so because walls create interior domains divide spaces and also have the ability to transfigure a place. But why is geometry such an important factor in architecture? Well, it is argued that the indoor environment revolves on pure geometrical utopia13. This means that interior designs are based on the contingent geometry that is similar to the real world. In cases where the square is used as the basis of geometry for example, Gonzalez indicates that designers hope to achieve the solidity associated with the square, while the strict linear divisions and the sharp edges are intended to bring the finiteness to architectural pieces14. Following the minimalist approach, James Turrell is among the celebrated architects who used the minimalist approach in his designs. Turrell used space and light as the main installations in his works. He used both natural and artificial light as the basic materials through which he defined spaces and surfaces15. In addition, Turrell used transparent planes in different colours to project space. Unlike the creations of Ando, Turell avoided direct view of sources of light. Instead he leaves visible light marks that indicate the direction of natural light movement from the interior. The projection of intense artificial light in wall intersections is also a mechanism that designers use to create the impression of installed space. Light can also be forced through apertures to create the impression of space, and in such circumstances, light is perceived as a factor that gives the interior form. In architectural design, geometry takes as a secondary rile when compared to light. Conclusion The main characteristic of minimalism in design includes abstraction, economy of materials such as light and colours, lack of ornamentation purism structures, geometry, precision finishing and reduction. Critics of minimalist architectures argue that they are cold and extremely orderly. However, considering that we are living in a chaotic world where all the building cars, human traffic, colours and shape could easily create confusion. The use of minimalism design in architecture gives the occupants of such spaces a sense of austerity, simplicity, aesthetic purism and order. The minimalist approach in architecture seems to be informed by the underlying need for peace in the human nature. Notably, peace and clutter cannot exist together. However, simplicity can breed peace in interior designs. Designers who focus on creating a single focal point that allows a free visual flow while encouraging physical movement to a great extent succeed in creating a sense of interior peace. The use of materials, spaces, geometry and light in architecture are all complimentary factors that different architects have successfully used in the past in order to create international masterpieces such as the pantheon. Like every other form of art , the minimalism approach to architecture has attracted many sculptors who have managed to create enriching architectural designs using the same, but have also managed in creating ambiguities about just what is the right approach to minimalism in architecture16. Overall however, the different designers have succeeded in proving that the descent of minimalism transcends any specific discipline. To date, minimalism is still evolving and architects continue experimenting with different material and techniques. Consequently, the world may end up with more adventurous and even more astounding architectural pieces that it has today. References Anatxu Zabalbeascoa and Javier, R. Marcos. Minimalisms. (Gustavo Gilli, 2000) 78 Image and visual perception, “Image and visual perception” n.d. http://caad.arch.ethz.ch/teaching/nds/ws97/script/light/st-light2.html (accessed April 2, 2010). Walker, Keith. “The Modern Tadao Ando,” (2003):1, http://www.famusoa.net/achin/courses/ando/walker.pdf (accessed April 2, 2010). Lambert, Rosenbusch. “The architectural model-A medium in the art of building early polyphony, “(2002): 1 Cresciani, Manuel. “The Olympics Buildings as a new typology for architects and engineers,” http://eprints.whiterose.ac.uk/8557/2/MC_IASS_2008.pdf (accessed April 2, 2010). Swhwartz, Martin. “Light organizing/ organizing light [light in place],” places Journal, No. 1 (1992), 1. Gonzalez, Valerie. “The Comares Hall in the Alhambra; Space that Sees by James Turell, The Israel Museum,” (2002): 6, http://cas.uchicago.edu/workshops/mehat/past_conferences/Gonzalez.pdf (Accessed April 2, 2010). Read More

Once the person is able to access the interior of the building, he or she experiences the materiality and the quality of the architecture. The fact that the people can note and compare differences between the real building and the model presented to them by the designers earlier means that the designers need to find materials for use in the model, that have the capacity to act as suitable substitutes to the real building. Accordingly, the materials used should give the miniature form a distinctive character, which the designer and the constructors are able to replicate in the real construction.

One of the identified materials viable in creation of architectural models is the Plaster of Paris8. The surface structure in the Plaster of Paris is hardly noticeable, and it has an inconspicuous colour making it a neutral material for use during design. However, one of the main challenges of using Plaster in design is its sensitivity to moisture and other forms of mechanical damages. This raises the need for designers to choose other materials such as wood. The ambiguity of space use and the limitations posed by materials available for use in architecture pose challenges in how designers and architects express themselves.

Unlike what most people think, space is not a creation of light or lack of it, but rather, space is attained by the correct use of form and text9. Borrowing from Tadao Ando who defines his architecture a s a form of betrayal10, it is apparent that space can be produced using free, angular and continuous configurations or through changes in darkness, light closed or open intermediate spaces. To match the minimalist theories, Tadao Ando uses narrow passages, flight of stairs, gates, descending or sunken walls in order to create space.

He also uses geometry to produce logical order between form and spaces. Ando believed that geometry is among the key factors that crystallised architecture11. To attain perfect geometry, some of the basic form in geometry such as squares, rectangles, triangles and circles are used. Architects like Ando, try to bring nature into the interior through allowing light and wind inside their architectural creations using geometry. Ando argues that using perfect geometry allows him to restore unity between the building interiors and nature, something that he says is usually lost during construction12 .

This is especially so because walls create interior domains divide spaces and also have the ability to transfigure a place. But why is geometry such an important factor in architecture? Well, it is argued that the indoor environment revolves on pure geometrical utopia13. This means that interior designs are based on the contingent geometry that is similar to the real world. In cases where the square is used as the basis of geometry for example, Gonzalez indicates that designers hope to achieve the solidity associated with the square, while the strict linear divisions and the sharp edges are intended to bring the finiteness to architectural pieces14.

Following the minimalist approach, James Turrell is among the celebrated architects who used the minimalist approach in his designs. Turrell used space and light as the main installations in his works. He used both natural and artificial light as the basic materials through which he defined spaces and surfaces15. In addition, Turrell used transparent planes in different colours to project space. Unlike the creations of Ando, Turell avoided direct view of sources of light. Instead he leaves visible light marks that indicate the direction of natural light movement from the interior.

The projection of intense artificial light in wall intersections is also a mechanism that designers use to create the impression of installed space. Light can also be forced through apertures to create the impression of space, and in such circumstances, light is perceived as a factor that gives the interior form. In architectural design, geometry takes as a secondary rile when compared to light.

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