Minimalism In Architecture

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The aesthetics of immateriality play a significant role in defining sensory experiences of the contemporary city. In the 1990s, Minimalism saw a shift in focus to the exploitation of new materials and their sensory effects, simple detailing appropriated from modernism, and the phenomenological nature of the architecture experience through immateriality. An important influence is the availability of new materials and technology and the use of these materials in a unique way. There are many ways to understand immaterial architecture. As an idea, a formless phenomenon, a technological development towards lightness, a gradual loss of architecture’s moral weight and certitude or a programmatic focus on actions rather than forms. This paper seeks…show more content…
It is not zero ornamentation but that all elements, details and joinery are conceived as being reduced to a stage where nothing more can be eliminated to improve the design. The considerations for ‘essences’ are light, form, detail of material, space, place and human condition. Minimalist architects attempt into the spiritual and the invisible, paying attention to the details, people, space, nature and materials. They seek to reveal the abstract quality of something that is invisible and search for the essence from those invisible…show more content…
Space, and the use of space qualitatively, are both integral to our inner harmony. Spatial qualities are expressed through the awareness of light and dark, beauty of space as expressed in emptiness, as well as in the openness and concealment of function. Minimalism saw a wide use of new materials coupled with new developments in material technology. Particularly, architects’ pursuit of a minimal envelope in a reductionist approach has resulted in glass becoming widely used for its special interlayer between our outer and inner space. It had always been Mies’ dream to produce architecture of ‘almost nothing’ through buildings with the same minimal quality as the most elemental drawing. To him, architecture is about achieving the maximum effect using the minimum of apparent means. The Barcelona Pavilion is an excellent example of punctuated emptiness and lightness through immateriality as an architectural material. The contradiction here lies in Mies’ use of finely wrought materials to create a space of almost nothing. A common understanding would be that materials do not matter much in architecture of ethereal nature, and that the use of least obtrusive materials would be the design strategy. However in this pavilion, Mies attempted to contrast glass (material with almost no materiality) with the opposite

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