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- | + | =====P N E U M A T O L O G Y===== | |
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- | ============ P N E U M A T O L O G Y ============ | + | |
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//[[Cocky Eek]] - 2008// | //[[Cocky Eek]] - 2008// | ||
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+ | ====Context==== | ||
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- | + | * a visual survey of -alive inflatables- ,\\ | |
- | + | * writings trying to distincts what makes an inflatable -alive- | |
- | + | * a collection of physical materials suited for inflatables for foam's public library\\ | |
- | + | * a collection of innovative inflatable experts, labs etc.\\ | |
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- | ===== | + | |
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- | accessible to people without galleries and black boxes - in the middle of the desert, or a jungle, or in an urban ghetto? is this type of art and tech needed at all? (think of modular tech and architectures, | + | |
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//Real//: ' | //Real//: ' | ||
- | --> from extreme sports to extreme arts, (sometimes) defying the laws of physics. experiments in wind tunnels and zero-gravity, | + | --> from extreme sports to extreme arts, (sometimes) defying the laws of physics. experiments in wind tunnels and zero-gravity, |
- | interventions, | + | |
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- | I've tasted 3 design principles of [[gRig]]: | + | while working on this research, |
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- | ====Lightness as a state of being==== | ||
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- | Around our contemporary environmental questions at least one thing became clear to me and that’s that out of fear, or to build on top of our guilt, we can’t create anything. So instead I rather like to slide the heavy burden of my shoulders and choose the quality of lightness. | ||
- | [[Italo Calvino]] underlines this quality as one of his ‘Six Memos for the Next Millennium’, | ||
- | We try to live our lives in areas physically constructed from heavy rigid isolated blocks which fulfill our needs up to a certain level. But imagine a life more light, imagine it to be constructed more mobile, flexible, portable, organic and more related to our natural surroundings and the elements, and that we can create our homes or shelters wherever our heart is with no fixed form or any beginning and end, either spatially or in time. | ||
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- | And I wonder can we construct our worlds from the lightest quality surrounding us everywhere: –air-. | ||
- | Air's once palpable presence in contemporary architecture has become largely invisible. Our architecture is often asphyxiating its inhabitants, | ||
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- | The Renaissance embodied the idea of air or better ‘pneuma’ [wind, air, breath, spirit and soul] in their art of building. One of the primary goals of renaissance architects was to enhance the powers of pneuma so as to foster the art of well-being, essence, wind and ventilation were core principles of classical buildings. Pneuma was a wonderful link for establishing harmony between the human body, architecture and the cosmos, and that building was envisioned as a mediator between the inhabitant' | ||
- | This indicates a link to contemporary environmental questions. | ||
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- | Inflatable architecture is simply constructed from the air surrounding us, it is specifically bodily and tactile by nature and they have the quality of lightness in the sense of its portability, | ||
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+ | ===== Lightness as a state of being ===== | ||
+ | Around our contemporary environmental questions at least one thing became clear to me and that’s that out of fear, or to build on top of our guilt, we can’t create anything. So instead I rather like to slide the heavy burden of my shoulders and choose the quality of lightness. | ||
+ | [[Italo Calvino]] underlines this quality as one of his ‘Six Memos for the Next Millennium’, | ||
+ | Imagine a life more light and imagine it to be constructed more mobile, flexible, portable, organic and more related to our natural surroundings and the elements, and that we can create our homes or shelters wherever our heart is with no fixed form or any beginning and end, either spatially or in time. | ||
+ | The Renaissance embodied the idea of air or better ‘pneuma’ [wind, air, breath, spirit and soul] in their art of building. One of the primary goals of renaissance architects was to enhance the powers of pneuma so as to foster the art of well-being, essence, wind and ventilation were core principles of classical buildings. Pneuma was a wonderful link for establishing harmony between the human body, architecture and the cosmos, and that building was envisioned as a mediator between the inhabitant' | ||
+ | This indicates a link to contemporary environmental questions. | ||
+ | | ||
+ | And in wondering if we can construct our worlds from the lightest quality surrounding us everywhere: –air- inflatable architecture comes the closests. Its thin flexible membrane, acts as a space-defining skin is able to give shape of –air- itself allowing it to be a breathing unity with its own integrity. Its close related to its surrounding its specifically bodily and tactile by nature and its portable, mobile, and playful. | ||
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===What kind of inflatables are we talking about...=== | ===What kind of inflatables are we talking about...=== | ||
The main quality of these inflatables is that they are alive. In such a way that it are inflatable spaces you want to be emerged with, play with, be involved with and for the rest: | The main quality of these inflatables is that they are alive. In such a way that it are inflatable spaces you want to be emerged with, play with, be involved with and for the rest: | ||
- | -They have a scale somewhere between our second, and third skin (ps. the first skin is our own skin, the [[second_skin]] our clothes, the 3e skin our rooms and buildings.) | + | |
- | -They have a nomadic character, in such a way that they are mobile or portable | + | * They have a scale somewhere between our second, and third skin (ps. the first skin is our own skin, the [[second skin]] our clothes, the third skin our rooms and buildings.) |
- | -They can be seen as breathing living organisms in which their visitors can become co-structures of a space. | + | |
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{{big_infl_.jpg? | {{big_infl_.jpg? | ||
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{{ant_.jpg? | {{ant_.jpg? | ||
- | //We imagine that only experts can create these objects, with a few marks of the pencil, worked out laboriously at the drawing board or computer. But to respect the individual who is not an expert precisely for his lack of expertise. | + | //We imagine that one has to be an expert to create these objects, with a few marks of the pencil, worked out laboriously at the computer. But to respect the individual who is not an expert precisely for his lack of expertise. |
- | The danger is that experts can’t do that anymore, because he’s already learned how things ought to be done, unless he gives up his own ideas and opinions. Everything that is inept, wayward, intuitive, instinctive and emotional, and emerges from ourselves- that is the expertise of the non-expert. Only a great army of ‘non’ specialists’ can give us a proper revolution. Once the individual can go his own way, free of rules and regulations, | + | The danger is that experts can’t do that anymore, because he’s already learned how things ought to be done, unless he gives up his own ideas and opinions. Everything that is inept, wayward, intuitive, instinctive and emotional, and emerges from ourselves- that is the expertise of the non-expert. Once the individual can go his own way, free of rules and regulations, |
- | ===The 1,2,3 recipe for an inflatable space== | + | ===The 1,2,3 recipe for an inflatable space=== |
With the most common cheap plastic one can make in less then one hour an inflatable space. | With the most common cheap plastic one can make in less then one hour an inflatable space. | ||
- | One can simply tape, stitch or iron the layer plastics together, make a hole and mount a table-ventilator and voilla | + | One can simply tape, stitch or iron the layer plastics together, make a hole and mount a table-ventilator and voila there is an inflated space. To enter the space; take a knife and make an incision. |
- | Its a quick medium to construct a space, one can practice building over and over again, every time deepening its patterns, until you know exactly how to realize spaces which work. | + | Its a quick medium to construct a space, one can practice building over and over again, every time deepening its patterns, until you know exactly how to realize spaces which works. |
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===== Some general problem domains in contemporary architecture===== | ===== Some general problem domains in contemporary architecture===== | ||
- | While reading | + | Juhani Pallasmaa’s |
- | *The current over-emphases of intellectual and conceptual dimensions | + | |
- | While computer design can give us new insights in architecture we shouldn’t forget that creative work calls for abodily | + | |
+ | * In general while our experience of the world is formulated by a combination of five senses, much architecture is produced under consideration of only one -the most dominated in our time – sight. The suppression of the other sensory realms has led to an impoverishment of our environment, | ||
+ | The inhumanity of contemporary architecture and cities can be understood as the consequence of the negligence of the body and the senses, and the imbalance in our sensory system. Every touching experience in architecture is multi-sensory; | ||
+ | * During the design process, the architect gradually internalizes the landscape, the entire context, and the functional requirements as well as his/her conceived building; movement, balance and scale are felt unconsciously through the body as tensions in the muscular system and in the positions of the skeleton and inner organs. As the work interacts with the body of the observer, the experience mirrors the bodily (proprioceptive) sensations of the maker. Consequently, | ||
- | *In general while our experience of the world is formulated by a combination of five senses, much architecture is produced under consideration of only one -the most dominated in our time – sight. The supresion of the other sensory realms has led to an impoverishment of our environment, causing a feeling of detachtment and alienation. | + | |
- | The inhumanity of contemporary architecture and cities can be understood as the consequence of the negligence of the body and the senses, and the imbalance in our sensory system. Every touching experience in architecture is multi-sensory; | + | |
- | During the design process, the architect gradually internalises the landscape, the entire context, and the functional requirements as well as his/her conceived building; movement, balance and scale are felt unconsiously through the body as tensions in the muscular system and in the positions | + | |
- | *Modern architectural theory and critique have a strong tendency to regard space as an immaterial object delineated by material surfaces, instead of understanding space in terms of dynamic interactions and ineterelations. | + | The experience of home is structured by distinct activities – cooking, eating, |
- | The experience of home is structured by distinct activities – cooking, eating, | + | [reference to :There is a Timeless Way of Building- patterns of events]\\ |
- | [reference to :There is a Timeless Way of Buiding- patterns of events]\\ | + | |
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=====Research topics===== | =====Research topics===== | ||
- | ***A Visual Collection of -Alive Inflatables-** | + | ***A Visual Collection of -Inflatble Structures-** |
- | In looking for stuctures for inflatables as a visual survey; I became very tired quicly. | + | There a some books which give an overview off all kinds of inflatables, |
- | Maybe because I came across a lot of dead stuff. So I decided to intuitively look for inflatables I just liked. And then after looking at them I found out what the quality of these inflatables was and that was that they were alive. In such a way that it are inflatable spaces you want to be emmerged with, play with, be involved with | + | |
- | And some of these inflatables | + | |
- | So I look for inflatable architectural structures which are alive in one way or another, where something is happening. | + | |
- | the collection | + | |
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- | ***A pattern language for -living inflatables** | + | |
- | Chistopher Alexander has unraveld in 1977a pattern language to create ' | + | |
- | And I have made a specific pattern language for -inflatable architectural | + | |
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- | After Coming across some problematic patterns among my own experience of creating inflatables, | + | |
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+ | ***Christopher Alexander' | ||
+ | Chistopher Alexander has unraveled in 1977 a pattern language to create ' | ||
+ | *** A pattern language for -living inflatables** | ||
+ | After studying Alexanders work I like to make a specific pattern language for -inflatable architectural structures- in such a way that everybody can use these patterns as a guideline to create one’s own ‘living inflatables’ | ||
+ | ====Methods==== | ||
+ | - In looking for structures for inflatables as a visual survey; I became very tired quickly. Maybe because I came across a lot of dead stuff. So I decided to look intuitively for inflatables I just liked. And then after looking at them I found out what the quality of these inflatables was and that was that they were alive in one way or another. In such a way that it are inflatable spaces you want to be emerged with, play with, be involved with. And some of these inflatables are to simple to be true, but have an amazing opening effect on people. After having an inspiring collection, all kinds of different structures unfold by themselves, and out of curiousity I was eager to give explanations by all the pictures. I gave the visual survey the name - Alive Inflatables- for them I searched in books, the internet, my own picture archive, and I asked collegues and experts. | ||
+ | - I wrote two books of Christopher Alexander: The timeless way of building and Pattern language. First I made a long summary and later I summarized it to the size that I tink general people are still willing to read this and they can using it as a tool. | ||
+ | -For making a specific pattern language for -inflatable architectural structures- I based it on the Architects of Air’s (UK) inflatable -Luminarium-. The Architects of Air are specicialized in making inflatable libarinths, every year deepening their patterns, and in general people see their spaces as a real experience. I assisted | ||
+ | - Design considerations for inflatable structures: I came across some problematic patterns in the Architects of Airs’s Luminarium which I recognized in creating inflatables myself, and some m colleagues, and inflatable experts I interviewd. | ||
+ | - For the collection of physical materials suited for inflatables for foam's public library - I asked experts which I interviewed, | ||
+ | - A collection of innovative inflatable experts, labs etc. I have listed them at [[Inflatable Structures]] a page already existing at Foams libarynth. Most of them I came across during making the -Alive Inflatable- visual survey and for the rest I collected them from my own archieve, the most interesed ones I asked to send brochures so to put in Foam Library. | ||
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===== There is a Timeless Way of Building ===== | ===== There is a Timeless Way of Building ===== | ||
- | [[Pattern_language]] can be a tool for finite combinatory systems which allow us to create an infinite variety of unique combinations, | + | [[Pattern_language]] can be a tool for finite combinatory systems which allow us to create an infinite variety of unique combinations, |
- | Before I’ll come to patterns specified for inflatable structures, which can be usefull | + | Before I’ll come to patterns specified for inflatable structures, which can be useful |
//‘There is one timeless way of building. It is a thousand years old, and the same today as it has ever been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way. It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form, as the trees and hills, and as our faces are.’ [Christopher Alexander]// | //‘There is one timeless way of building. It is a thousand years old, and the same today as it has ever been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way. It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form, as the trees and hills, and as our faces are.’ [Christopher Alexander]// | ||
===Being alive=== | ===Being alive=== | ||
- | Places which have the quality of being alive, invite this quality to come to life in us. And when we have this quality | + | Places which have the quality of being alive, invite this quality to come to life in us. And when we have this quality |
===Patterns of events=== | ===Patterns of events=== | ||
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Compare the power and importance of these events with the other purely geometrical | Compare the power and importance of these events with the other purely geometrical | ||
{{gd14.jpg? | {{gd14.jpg? | ||
- | //One can focus on the ‘pure | + | //One can focus on the ‘pure |
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- | The world does have a structure, just because these patterns of events which repeat themselves are always anchored in the space.The action and the space are indivisible. | + | The world does have a structure, just because these patterns of events which repeat themselves are always anchored in the space. The action and the space are indivisible. |
The specific patterns out of which a building or a town is made may be alive or dead. To the extent they are alive, they let our inner forces loose, and set us free; but when they are dead they keep us locked in inner conflict. | The specific patterns out of which a building or a town is made may be alive or dead. To the extent they are alive, they let our inner forces loose, and set us free; but when they are dead they keep us locked in inner conflict. | ||
- | “The sunshine shining on the windowsill, the wind blowing in the grass are events too-they effect us just as much as social events. A field of grass is given its character, | + | “The sunshine shining on the windowsill, the wind blowing in the grass are events too-they effect us just as much as social events. A field of grass is given its character, |
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===How does it feel=== | ===How does it feel=== | ||
- | Imagine someone who proposes that modular aluminium wall panels are of great imortance | + | Imagine someone who proposes that modular aluminium wall panels are of great importance |
It is not the same as asking someone his opinion, someones taste or what a person thinks of an idea. In short, the scientific accuracy of the patterns can only come from direct assessment of people’s feelings, not from arguments or discussions. | It is not the same as asking someone his opinion, someones taste or what a person thinks of an idea. In short, the scientific accuracy of the patterns can only come from direct assessment of people’s feelings, not from arguments or discussions. | ||
- | Each pattern should be a source of life, a geneative, | + | Each pattern should be a source of life, a generative, |
- | It comes about because our feelings always | + | It comes about because our feelings always |
===The process of making things=== | ===The process of making things=== | ||
- | If we compare the buildings of today with former times, | + | If we compare the buildings of today with former times, |
The character arises of the old buildings is not because of the history, or because the process which built them were so primitive. These buildings have this character | The character arises of the old buildings is not because of the history, or because the process which built them were so primitive. These buildings have this character | ||
{{local_symmetries.jpg|}}\\ | {{local_symmetries.jpg|}}\\ | ||
- | Local Symmetries, Organic, small-scale symmetry versus an averge | + | Local Symmetries, Organic, small-scale symmetry versus an average |
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The idea that a building can-and ought- to be made of modular units is one of the most pervasive assumptions of twentieth-century architecture. Nature is never modular. | The idea that a building can-and ought- to be made of modular units is one of the most pervasive assumptions of twentieth-century architecture. Nature is never modular. | ||
Nature is full of almost similar units (waves, raindrops, blades of grass-) but though the units of one kind are all alike in their broad structure, no two are ever alike in detail. | Nature is full of almost similar units (waves, raindrops, blades of grass-) but though the units of one kind are all alike in their broad structure, no two are ever alike in detail. | ||
- | 1. the same broad features keep recurring over and over again. | + | |
- | 2. | + | 2. in their detail appearance these broad features are never twice the same. |
On the one hand all oak trees have the same overall shape, the same thickened twisted trunk, the same crinkled bark, the same shaped leaves, the proportions of limbs to branches of twigs. On the other hand, no two trees are quite the same. The exact combination of height and width and curvature never repeats itself; we cannot even find two leaves which are the same. | On the one hand all oak trees have the same overall shape, the same thickened twisted trunk, the same crinkled bark, the same shaped leaves, the proportions of limbs to branches of twigs. On the other hand, no two trees are quite the same. The exact combination of height and width and curvature never repeats itself; we cannot even find two leaves which are the same. | ||
modularity is just a concept.\\ | modularity is just a concept.\\ | ||
- | //The quality of places is never twice the same, because it always takes its shape from the particular | + | //The quality of places is never twice the same, because it always takes its shape from the particular |
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{{turkey.jpg|}}\\ | {{turkey.jpg|}}\\ | ||
1.[Uit: L. Carl Brown, From Madina to Metropolis. Princeton, 1973] de stad Tunis | 1.[Uit: L. Carl Brown, From Madina to Metropolis. Princeton, 1973] de stad Tunis | ||
- | Modern | + | Modern |
2. [Uit: Metin Sözen, Diyarbakir' | 2. [Uit: Metin Sözen, Diyarbakir' | ||
- | The same constrast | + | The same contrast |
===Differentiating space=== | ===Differentiating space=== | ||
- | Within this process, every individual act of building is a process in which space gets differentiated. It is not a process of addition, in which pre-formed parts are combined to create a whole: but a process of unfolding, like the evolution of an embryo, in which the whole predcedes | + | Within this process, every individual act of building is a process in which space gets differentiated. It is not a process of addition, in which pre-formed parts are combined to create a whole: but a process of unfolding, like the evolution of an embryo, in which the whole precedes |
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{{maria_b_1.jpg? | {{maria_b_1.jpg? | ||
- | //Maria blaisse, a dutch designer/ | + | //Maria blaisse, a dutch designer/ |
===The building process=== | ===The building process=== | ||
- | It is essential that ‘a builder’ works only from rough drawings: and that he carry out the detailed patterns from the drawings according to the processes given by the pattern language in his mind. This is common place in nature. When the spider builds its web, the process is standarized; but the parts which are created are all different. Each web is beautifull, unique, | + | It is essential that ‘a builder’ works only from rough drawings: and that he carry out the detailed patterns from the drawings according to the processes given by the pattern language in his mind. This is common place in nature. When the spider builds its web, the process is standardized; but the parts which are created are all different. Each web is beautiful, unique, perfectly adapted to its situation. Yet it is created by a standard process; and there is just one process. It is very simple. Yet this simple process interacts in an infinite variety of ways with different circumstances to produce different particular webs.\\ |
{{spiderweb.jpg? | {{spiderweb.jpg? | ||
- | //generated spases: spider web,// | + | //generated spases: spider web,// |
- | Or for instance waves; the actual concrete waves themselves are always different. This happens because the patterns interact differently at every spot. They ineract | + | Or for instance waves; the actual concrete waves themselves are always different. This happens because the patterns interact differently at every spot. They interact |
- | In such a system there is endless variety; and yet at the same time there is endless sameness. | + | In such a system there is endless variety; and yet at the same time there is endless sameness. No wonder we can watch the waves for hours; no wonder that a blade of grass is still fascinating, |
===When a group of people try to do something together=== | ===When a group of people try to do something together=== | ||
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===About beauty=== | ===About beauty=== | ||
- | How was it possible that any simple farmer could make a house or a barn, a thousand times more beautifull | + | How was it possible that any simple farmer could make a house or a barn, a thousand times more beautiful |
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{{zeeland.jpg? | {{zeeland.jpg? | ||
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//This is a very typical farmhouse in Zeeland an area in the southwest of Holland. | //This is a very typical farmhouse in Zeeland an area in the southwest of Holland. | ||
These farmhouses are completely demountable (a technique blown over from the Vikings) so one could take it apart, transport it over Zeeland’s rich waters and settle one island further if you want. The roof is from straw, which grows in that area, it gives a lot of comfort: it keeps warm in the winter and stays cool in the summer. | These farmhouses are completely demountable (a technique blown over from the Vikings) so one could take it apart, transport it over Zeeland’s rich waters and settle one island further if you want. The roof is from straw, which grows in that area, it gives a lot of comfort: it keeps warm in the winter and stays cool in the summer. | ||
- | People made their own paint from fresh oxblood en lijnolie so all the barns had this typical ox-red | + | People made their own paint from fresh oxblood en lijnolie so all the barns had this typical ox-red |
All its patterns were worked out well over time for that specific area, so it was worth to copy the patterns and these rooted farmhouses can be seen all over Zeeland.// | All its patterns were worked out well over time for that specific area, so it was worth to copy the patterns and these rooted farmhouses can be seen all over Zeeland.// | ||
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===The multiplicity of living patterns=== | ===The multiplicity of living patterns=== | ||
The more living patterns there are in a building and its environment -the more it comes to life as an entirety, the more it glows, the more it has this self-maintaining fire, which is the quality without a name.The quality without a name occurs not when an isolated pattern occurs, but when an entire system of patterns, interdependent, | The more living patterns there are in a building and its environment -the more it comes to life as an entirety, the more it glows, the more it has this self-maintaining fire, which is the quality without a name.The quality without a name occurs not when an isolated pattern occurs, but when an entire system of patterns, interdependent, | ||
- | A building in which all the pattterns | + | A building in which all the patterns |
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I know it is wrong." | I know it is wrong." | ||
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=====An Inflatable Pattern Language===== | =====An Inflatable Pattern Language===== | ||
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Architects of Air [UK] are creating every year a new inflatable structure where people can be moved to a sense of wonder at the phenomenon of light it aims to bring a visual surprise and excitement into the everyday environment. There structures are working quite well and I | Architects of Air [UK] are creating every year a new inflatable structure where people can be moved to a sense of wonder at the phenomenon of light it aims to bring a visual surprise and excitement into the everyday environment. There structures are working quite well and I | ||
- | I will describe | + | I will describe |
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===Co-structors=== | ===Co-structors=== | ||
- | Even when an inflatable has been in situ for several weeks there is still maintained the element of surprise for those traveling to work, going shopping or to school. People walking by are drawn to discover what is within. They can see the movement of the structure caused by people walking around inside, they can see the outlines of visitors’ bodies as they lie back against the sides, they can see the regular inflation and deflation of the airlock as it swallows and disgorges groups of visitors. Once inside, visitors can enjoy the unique nature of the structure. No two visits to a structure are the same, the atmosphere inside alters according to changing weather, the changing light and the experience is also very much affected by the other visitors inside and the way that they relate to the luminarium. The visitor’s are co-structures of the space. | + | Even when an inflatable has been in situ for several weeks there is still maintained the element of surprise for those traveling to work, going shopping or to school. People walking by are drawn to discover what is within. They can see the movement of the structure caused by people walking around inside, they can see the outlines of visitors’ bodies as they lie back against the sides, they can see the regular inflation and deflation of the airlock as it swallows and disgorges groups of visitors. Once inside, visitors can enjoy the unique nature of the structure. No two visits to a structure are the same, the atmosphere inside alters according to changing weather, the changing light and the experience is also very much affected by the other visitors inside and the way that they relate to the Luminarium. The visitor’s are co-structures of the space. |
===Natural coloured/ | ===Natural coloured/ | ||
- | The experience of light and colour inside is purely created by the daylight shining through the tanslucent | + | The experience of light and colour inside is purely created by the daylight shining through the translucent |
- | The raindrops on the outside can be experienced on the inside through its semitransparant | + | The raindrops on the outside can be experienced on the inside through its semitransparent |
One can place an inflatable under a tree to create filtered light. Light filtering through a leafy tree is very pleasant - it lends excitement, cheerfulness, | One can place an inflatable under a tree to create filtered light. Light filtering through a leafy tree is very pleasant - it lends excitement, cheerfulness, | ||
An object which has small scale patterns of light dancing on it is sensually pleasing, and stimulates us biologically. Some filmmakers claim the play of light upon the retina is naturally sensuous, all by itself.\\ | An object which has small scale patterns of light dancing on it is sensually pleasing, and stimulates us biologically. Some filmmakers claim the play of light upon the retina is naturally sensuous, all by itself.\\ | ||
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{{column.jpg? | {{column.jpg? | ||
//Daylight grading down a column, The ceiling with blue luminescent stripes of 1,5 cm gives a strong luminescent effect.// | //Daylight grading down a column, The ceiling with blue luminescent stripes of 1,5 cm gives a strong luminescent effect.// | ||
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//Frank Lloyd Wright describes his use of the canvas roof, in the very early structures at Taliesin West: | //Frank Lloyd Wright describes his use of the canvas roof, in the very early structures at Taliesin West: | ||
. . the Taliesin Fellowship (is a) desert camp on a great Arizona mesa which the boys, together with myself, are now building to work and live in during the winter-time. Many of the building units have canvas tops carried by red-wood framing resting on massive stone walls made by placing the flat desert stones into wood boxes and throwing in stones and concrete behind them. Most of the canvas frames may be opened or kept closed. . . . The canvas overhead being translucent, | . . the Taliesin Fellowship (is a) desert camp on a great Arizona mesa which the boys, together with myself, are now building to work and live in during the winter-time. Many of the building units have canvas tops carried by red-wood framing resting on massive stone walls made by placing the flat desert stones into wood boxes and throwing in stones and concrete behind them. Most of the canvas frames may be opened or kept closed. . . . The canvas overhead being translucent, | ||
- | there is a very beautiful light to live and work in; I have experienced nothing like it elsewhere except in Japan somewhat, in their houses with sliding paper walls or " | + | there is a very beautiful light to live and work in; I have experienced nothing like it elsewhere except in Japan somewhat, in their houses with sliding paper walls or " |
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===Entrance transition=== | ===Entrance transition=== | ||
- | The transition space before entering the main-entrance helps to slowly come to a different mindset. At the main entrance were two colums | + | The transition space before entering the main-entrance helps to slowly come to a different mindset. At the main entrance were two columns |
- | there wasn’t a certain abruptness about suddenly stepping in, from the outside, directly to the inside…it is subtle, but enough to inhibit you.This is psycologically | + | there wasn’t a certain abruptness about suddenly stepping in, from the outside, directly to the inside…it is subtle, but enough to inhibit you. This is psychologically |
===Ceiling height variety=== | ===Ceiling height variety=== | ||
The vaults helps to create the ceiling height variety of the different spaces inside. | The vaults helps to create the ceiling height variety of the different spaces inside. | ||
- | Low spaces are more intimite | + | Low spaces are more intimate |
===Columns=== | ===Columns=== | ||
- | Columns are infuencing | + | Columns are influencing |
circle shaped area with a radius of about 1,5 meter. Column preferably should be a thick ones. | circle shaped area with a radius of about 1,5 meter. Column preferably should be a thick ones. | ||
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===The skin=== | ===The skin=== | ||
- | Our contact with the world takes place at the boundary line of the self through | + | Our contact with the world takes place at the boundary line of the self through |
===Portability=== | ===Portability=== | ||
They are build to fold away, being carried and are easily to set up. | They are build to fold away, being carried and are easily to set up. | ||
- | in combination with tensile structures [with pulling forces – in the contruction | + | in combination with tensile structures [with pulling forces – in the construction] one can make strong, lightweight and portable structures. |
===The more problematic patterns=== | ===The more problematic patterns=== | ||
- | * To me the space is tooo blobby round.\\ | + | * To me the space is too blobby round.\\ |
- | //[When we look at the humanpower | + | //[When we look at the human-power |
- | between | + | between |
- | best on us if a space is about rectangular. Even the strange | + | best on us if a space is about rectangular. Even the strange |
- | | + | |
- | of 180-210 cm and rizes 13 till 20 procent | + | of 180-210 cm and rizes 13 till 20 percent |
* It became very hot when its warm, or freezing when its cold. | * It became very hot when its warm, or freezing when its cold. | ||
- | * The pvc material which is especially smell-wise very dominant in its odeur and very toxic in its nature, so not io beautifull | + | * The PVC material which is especially smell-wise very dominant in its odeur and very toxic in its nature, so not io beautiful |
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- | * For me the fixed choise of colors was very dominant; it was impossible to put you own fantasy to the color, a blue was so blue, that it only gave its impact on you. In the areas where colors started to mingle were more interesting. | + | |
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- | * People inside became very sleepy after a while; it´s a passive space aswell the ongoing ambient music makes you murf and maybe it was aswell the dose or flow of oxigen which slows you down.\\ | + | |
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+ | * For me the fixed choice of colors was very dominant; it was impossible to put you own fantasy to the color, a blue was so blue, that it only gave its impact on you. In the areas where colors started to mingle were more interesting. | ||
+ | * People inside became very sleepy after a while; it´s a passive space aswell the ongoing ambient music makes you murf and maybe it was as well the dose or flow of oxygen which slows you down.\\ | ||
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=====Design considerations for inflatable structures====== | =====Design considerations for inflatable structures====== | ||
- | After Coming across the problematic patterns of the architects of Airs’s Luminarium. I thought its worthwhile to acknowledge the most common obstacles one comse across in inflatable structures anyhow. No solutions will be given to any design problem, but some suggestions will be given so now and then… When we are able to surpass | + | After Coming across the problematic patterns of the architects of Airs’s Luminarium. I thought its worthwhile to acknowledge the most common obstacles one comes across in inflatable structures anyhow. No solutions will be given to any design problem, but some suggestions will be given so now and then… When we are able to surpass |
these obstacles, these structures will be more stable and alive. | these obstacles, these structures will be more stable and alive. | ||
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adapt/ | adapt/ | ||
A single skin inflatable can become instant hot when the sun shines, or freezing cold when not. | A single skin inflatable can become instant hot when the sun shines, or freezing cold when not. | ||
- | For temperature regulation one can think of a double skin; where walls of air will have an isolation function and at the same time an acoustics isolation function. In this way the walls can aswell | + | For temperature regulation one can think of a double skin; where walls of air will have an isolation function and at the same time an acoustics isolation function. In this way the walls can as well become a part of the construction. The climate |
- | Heat- There is always a temperature differential - it will generally be warmer inside an inflatable than outside. | + | Heat- There is always a temperature differential - it will generally be warmer inside an inflatable than outside. |
Cold – One can use portable heaters and a layer of polyurethane foam beneath the structure. | Cold – One can use portable heaters and a layer of polyurethane foam beneath the structure. | ||
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\\{{airqarium1.jpg? | \\{{airqarium1.jpg? | ||
- | //Festo’s Airquarium holds a waterfilled | + | //Festo’s Airquarium holds a water-filled |
- | and heating, (water cools much better then air, it can store the coldness better) and it holds a weather station | + | and heating, (water cools much better then air, it can store the coldness better) and it holds a weather station |
- | Festo has aswell | + | Festo has as well designed an ‘Exhibition Hall’ exploring the field of air-conditioning. In addition to the natural ventilation through the two doors, an air conditioning system is provided. The conditioned air is distributed via 2 textile supply air-supply ducts, suspended from the ceiling. Gravel fill under the grating is used as heat storage; light -colored |
===Air ventilation=== | ===Air ventilation=== | ||
- | The focus of an inflated bubble is to make it airtight so it preserves its air preciously, but make sure ther there is an aircirculation | + | The focus of an inflated bubble is to make it airtight so it preserves its air preciously, but make sure there is an air-circulation |
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De essenty van alle tensegrity constructie is, dat alle trekbelasting wordt opgenomen door een enkel continu element, bijvoorbeeld door een kabel, terwijl afzonderlijke korte dikke elementen de drukrachten voor hun rekening nemen. Het opvangen van trekbelasting heeft het voordeel ten opzichte van druk dat er minder materiaal voor nodig is. trek leidt tot rank en dun. Met kabels en stangen en met een membraan of doek (tent, ballon) zijn goede constructies temaken. | De essenty van alle tensegrity constructie is, dat alle trekbelasting wordt opgenomen door een enkel continu element, bijvoorbeeld door een kabel, terwijl afzonderlijke korte dikke elementen de drukrachten voor hun rekening nemen. Het opvangen van trekbelasting heeft het voordeel ten opzichte van druk dat er minder materiaal voor nodig is. trek leidt tot rank en dun. Met kabels en stangen en met een membraan of doek (tent, ballon) zijn goede constructies temaken. | ||
- | Strings and fabrics are basic structuring materials which exclusively absorb tension stress, fabric is able to do this in more directions. | + | Strings and fabrics are basic structuring materials which exclusively absorb tension stress, fabric is able to do this in more directions. |
therefor they are ideal for creating light objects. | therefor they are ideal for creating light objects. | ||
- | There are a number of basic rules for supporting a maximum load with a minimum of material. To start with , a structure needs as many natural load paths as possible, with a minimum of diversions or dead ends so the topology of load paths should be optimal. Next if possible, try to replace beams that are under pressure with systems in wich tension forces are predominant. Think for instanstance, of diagonal in frames and of tensegrity | + | There are a number of basic rules for supporting a maximum load with a minimum of material. To start with , a structure needs as many natural load paths as possible, with a minimum of diversions or dead ends so the topology of load paths should be optimal. Next if possible, try to replace beams that are under pressure with systems in wich tension forces are predominant. Think for instance, of diagonal in frames and of tensegrity |
structures, as devised by buck Minster Fuller. (flying lightness) | structures, as devised by buck Minster Fuller. (flying lightness) | ||
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===How to evacuate=== | ===How to evacuate=== | ||
{{airqarium2.jpg? | {{airqarium2.jpg? | ||
- | In Festo’s Airquarium they build a steel frame, which can keep up the cloth in case that an evacuation procedure will be initiated in the event of: winds exceeding 40km/hour, power failure, structure allure or others. Make sure there are divers zips positioned throughout the structures that can be opened in case of an emergency. On can aswell | + | In Festo’s Airquarium they build a steel frame, which can keep up the cloth in case that an evacuation procedure will be initiated in the event of: winds exceeding 40km/hour, power failure, structure allure or others. Make sure there are divers zips positioned throughout the structures that can be opened in case of an emergency. On can as well think of a tunnel made out of steel frame keeping up the cloth and leading you to an exit. |
===Whole system thinking=== | ===Whole system thinking=== | ||
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are key factors can improve all aspects. So for instance you when creating a space focused on acoustic isolation, temperature regulation, and portability, | are key factors can improve all aspects. So for instance you when creating a space focused on acoustic isolation, temperature regulation, and portability, | ||
Other ways to think ‘whole’: | Other ways to think ‘whole’: | ||
- | * Think about creating micro-climats | + | * Think about creating micro-climates |
- | * Think in bio-lifecycles | + | * Think in bio-life-cycles |
* Think about integrated responsive systems | * Think about integrated responsive systems | ||
* Think of the " | * Think of the " | ||
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- | // | + | // |
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===How to design an airlock=== | ===How to design an airlock=== | ||
- | Airlocks are required at entrances to prevent loss of internal | + | Airlocks are required at entrances to prevent loss of internal |
{{airlock.jpg? | {{airlock.jpg? | ||
- | -An entance | + | -An entrance |
- | -When using a double wall construction; | + | -When using a double wall construction; |
{{airlock_2.jpg? | {{airlock_2.jpg? | ||
-Festo’s airquariums airlock; a rigid tunnel-construction with on each side a door.\\ | -Festo’s airquariums airlock; a rigid tunnel-construction with on each side a door.\\ | ||
- | -Theo Botschuiver' | + | -Theo Botschuiver' |
- | -Theo Botschuiver' | + | -Theo Botschuiver' |
\\ | \\ | ||
\\ | \\ | ||
{{aairlock.jpg|}}\\ | {{aairlock.jpg|}}\\ | ||
// | // | ||
- | Where you can take of your shoes, then via a door flap one enters the first outer airlock (middel), both the entranceportal and the outer airlock are strechted up by high pressure poles, after the outer airlock | + | Where you can take of your shoes, then via a door flap one enters the first outer airlock (middel), both the entranceportal and the outer airlock are strechted up by high pressure poles, after the outer airlock |
- | \\ | + | |
- | \\ | + | |
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{{how_to_make_a_door.jpg? | {{how_to_make_a_door.jpg? | ||
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===How to extend inflatables in modular parts=== | ===How to extend inflatables in modular parts=== | ||
- | One way is to connect parts by short round corridor pipes as a space to extend and connect the pipes through waterproof zips. | + | One way is to connect parts by short round corridor pipes as a space to extend and connect the pipes through waterproof zips |
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{{ventilator_net.jpg? | {{ventilator_net.jpg? | ||
- | One can prevent children sticking their fingers in the ventilator by stiching | + | One can prevent children sticking their fingers in the ventilator by stitching |
- | in the pipehole. | + | in the pipe-hole. |
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Some inflatable pumps can implode | Some inflatable pumps can implode | ||
- | (Transparant) inflatables, | + | (Transparent) inflatables, |
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===The analogy of blowing bubbles=== | ===The analogy of blowing bubbles=== | ||
{{soap_uit_flying_lightness.jpg? | {{soap_uit_flying_lightness.jpg? | ||
- | Stacking | + | Stacking |
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===How does the floor feel under your feet=== | ===How does the floor feel under your feet=== | ||
- | A single layered material sheet, laying on grass gives a very pleasurable feeling to your feet | + | A single layered material sheet, laying on grass gives a very pleasurable feeling to your feet. |
===How to get the air in=== | ===How to get the air in=== | ||
{{air_in_inflatables.jp? | {{air_in_inflatables.jp? | ||
- | One can try to make a ' | + | One can try to make a ' |
Or even is it possible to get the natural wind streams direct inside the inflatables. | Or even is it possible to get the natural wind streams direct inside the inflatables. | ||
- | Windy cities with high buildings or seasides can develop spots with a constant flow of high windspeeds. | + | Windy cities with high buildings or seasides can develop spots with a constant flow of high wind-speeds. |
Or work with green energy sources like: windmills, wind towers, scoops, solar power, kite set-ups etc. to generate energy for inflating. Or one can make use of self-inflating techniques where you wouldn' | Or work with green energy sources like: windmills, wind towers, scoops, solar power, kite set-ups etc. to generate energy for inflating. Or one can make use of self-inflating techniques where you wouldn' | ||
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===What kind of skins do you want to inflate=== | ===What kind of skins do you want to inflate=== | ||
- | The skin maybe the biggest organ in architecture. Its that thin fliese wich keeps the integrity of a space whole. You can design different kinds of qualities for the skin: a skin which is semipermeable, | + | The skin maybe the biggest organ in architecture. Its that thin fleece which keeps the integrity of a space whole. You can design different kinds of qualities for the skin: a skin which is semipermeable, |
- | One can make it responsive by integration of [[subtle technologies]], | + | One can make it responsive by integration of [[subtle technologies]], |
- | One can look into microfibers, | + | One can look into microfibers, |
| | ||
- | [[material_library]]' | + | [[material_library]]' |
**Fairs**: The composite fair in France (for composite sticks), TechnoTextile, | **Fairs**: The composite fair in France (for composite sticks), TechnoTextile, | ||
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===Anchoring=== | ===Anchoring=== | ||
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{{anchoring_2.jpg? | {{anchoring_2.jpg? | ||
Theo Botschuiver' | Theo Botschuiver' | ||
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===Static materials=== | ===Static materials=== | ||
Some materials are so static; that all your hair will rise or even one can get electic shocks when touching the fabric. | Some materials are so static; that all your hair will rise or even one can get electic shocks when touching the fabric. | ||
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===How to diffuse the daylight and how to get light in the dark=== | ===How to diffuse the daylight and how to get light in the dark=== | ||
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The spaces can leave the spectator disorientated, | The spaces can leave the spectator disorientated, | ||
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===Accecesible for less mobile people=== | ===Accecesible for less mobile people=== | ||
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Because people enjoy being there, they look after it and even when no one else is there, you can “feel” the presence of life there, because you can sense that people are taking care of it.\\ | Because people enjoy being there, they look after it and even when no one else is there, you can “feel” the presence of life there, because you can sense that people are taking care of it.\\ | ||
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But before they die, make sure you choose materials which decay nicely. Modern modern sculptures or architects often choose material which decay awfull. | But before they die, make sure you choose materials which decay nicely. Modern modern sculptures or architects often choose material which decay awfull. | ||
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it in the form of nutrients to the ground or to use materials which can be upcycled in a techinal cycle the [[cradle_to_cradle]] concept. | it in the form of nutrients to the ground or to use materials which can be upcycled in a techinal cycle the [[cradle_to_cradle]] concept. | ||
One can use materials which after use can break it down in the bio cycles (like plastics made from mais), or upcycle it in a technical cycle. | One can use materials which after use can break it down in the bio cycles (like plastics made from mais), or upcycle it in a technical cycle. | ||
+ | |||
But it isn't always that simple; for instance one wants to use [[bioplastic]], | But it isn't always that simple; for instance one wants to use [[bioplastic]], | ||
But you don’t have to be perfect right now as long there is a direction and all these materials are not all available now, | But you don’t have to be perfect right now as long there is a direction and all these materials are not all available now, | ||
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- | =====references===== | ||
- | ===Books=== | ||
- | * [[Cradle to cradle]] William McDonough & Michael Braungart, 2002, ISBN-13: 978-0-86547-8 | ||
- | * [[The Timeless Way of Building]], Christopher Alexander, 1979, ISBN 0-19-502248-3 | ||
- | * Een Patroontaal, | ||
- | * Aeolian Winds and the the Spirit in renaissance Architecture, | ||
- | * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514 | ||
- | * Intelligent Skins, Michael Wigginton - Jude Harris, | ||
- | * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 | ||
- | * Where' | ||
- | * Blow Up, Sean Topham, 2002, ISBN 3-7913-2687-2 | ||
- | * Lightness, Adriaan Beukers - Ed van Hinte, 2001, ISBN 90-6450-334-6 | ||
- | * Flying Lightness, Adriaan Beukers - Ed van Hinte, 2005, ISBN 90-6450-538-1 | ||
- | * [[The Eyes of the Skin]], Juhani Pallasmaa, 2005, ISBN 0470015780 | ||
- | * Nature Culture Fusion-Louis G. Le Roy, 2002 ISBN 90-5662-278-1. | ||
- | * Leven op ’t hof, Gerard smallegange, | ||
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+ | ==== Discussion==== | ||
+ | - As I' | ||
+ | * // | ||
+ | * The second design principle playfullness, | ||
+ | |||
+ | * The thirth principle was modularity. One can always ask yourself how does it feel, to have a modular surrounding. Nature is never modular. Nature is full of almost similar units (waves, raindrops, blades of grass-) but though the units of one kind are all alike in their broad structure, no two are ever alike in detail. - the same broad features keep recurring over and over again. - in their detail appearance these broad features are never twice the same. - The quality of places is never twice the same, because it always takes its shape from the particular place in which it occurs. Each part is slightly different, according to its position in the whole. Each branch of a tree has a slightly different shape, according to its position in the tree. Each leaf on the branch is given its detailed form by its position on the branch. So an alternative is to think of differentiating spaces: It is not a process of addition, in which pre-formed parts are combined to create a whole: but a process of unfolding, like the evolution of an embryo, in which the whole precedes in parts, and actually gives birth to them, by splitting (so becoming different in the process of growth or development). Only a process of differentiation, | ||
+ | |||
+ | - The Visual Collection of -Alive Inflatables- | ||
+ | In looking for structures for inflatables as a visual survey; I became very tired quickly. Maybe because I came across a lot of dead stuff. So I decided to look intuitively for inflatables I just liked. And then after looking at them I found out what the quality of these inflatables was and that was that they were alive in one way or another. In such a way that it are inflatable spaces you want to be emerged with, play with, be involved with. And some of these inflatables are to simple to be true, but have an amazing opening effect on people. After having an inspiring collection, all kinds of different structures unfold by themselves, and it was out of curiousity I was eager to give explanations by all the pictures. | ||
+ | |||
+ | - Up to now I noticed people (no matter what their background is) react very strongly on the visual collection of the research, and yes it was the part I enjoyed doing the most. | ||
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+ | - As a follow up from this research I have like do realize two events where I will develop inflatable spaces solely inflated by wind. | ||
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+ | - I l like to continue on three parts of the research; the collections of the visual survey, the collection of inflatable materials for the library and the list of interesting inflatable producers, labs, experts etc. | ||
+ | |||
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+ | |||
+ | |||
+ | |||
+ | =====references===== | ||
+ | |||
+ | ===Books=== | ||
+ | * [[Cradle to cradle]] William McDonough & Michael Braungart, 2002, ISBN-13: 978-0-86547-8 | ||
+ | * [[The Timeless Way of Building]], Christopher Alexander, 1979, ISBN 0-19-502248-3 | ||
+ | * Een Patroontaal, | ||
+ | * Aeolian Winds and the the Spirit in renaissance Architecture, | ||
+ | * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514 | ||
+ | * Intelligent Skins, Michael Wigginton - Jude Harris, | ||
+ | * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 | ||
+ | * Where' | ||
+ | * Blow Up, Sean Topham, 2002, ISBN 3-7913-2687-2 | ||
+ | * Lightness, Adriaan Beukers - Ed van Hinte, 2001, ISBN 90-6450-334-6 | ||
+ | * Flying Lightness, Adriaan Beukers - Ed van Hinte, 2005, ISBN 90-6450-538-1 | ||
+ | * [[The Eyes of the Skin]], Juhani Pallasmaa, 2005, ISBN 0470015780 | ||
+ | * Nature Culture Fusion-Louis, | ||
+ | * Leven op ’t hof, Gerard smallegange, | ||
+ | * Form Defining Strategies, Markus Hudert | ||