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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// | ||
+ | ---- | ||
+ | ====Context==== | ||
- | + | // | |
- | + | * 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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- | --> guerrilla art-forms -- portable, robust, low-tech, recyclable media, materials and technologies that can adapt to a variety of conditions. How can we make works such as responsive environments more mobile, easy to unpack, even pocket-size (inflate as needed)? how can we make such works | + | --> guerrilla art-forms -- portable, robust, low-tech, recyclable media, materials and technologies that can adapt to a variety of conditions. How can we make works such as responsive environments more mobile, easy to unpack, even pocket-size (inflate as needed)? how can we make such works 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, |
- | 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. | ||
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+ | 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 |
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- | *The current over-emphases of intellectual and conceptual dimensions of architecture contributes to the disappearance of its physical, sensual and embodied essence. | + | |
- | While computer design can give us new insights in architecture we shouldn’t forget that creative work calls for bodily and mental identification. | + | |
- | *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 current over-emphases of intellectual and conceptual dimensions of architecture contributes to the disappearance of its physical, sensual and embodied essence. |
+ | * While computer design can give us new insights in architecture we shouldn’t forget that creative work calls aswell for bodily and mental identification. | ||
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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; | 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, | + | * 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, |
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+ | * 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 interrelations. | ||
- | *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 interrelations. | ||
The experience of home is structured by distinct activities – cooking, eating, socializing, | The experience of home is structured by distinct activities – cooking, eating, socializing, | ||
[reference to :There is a Timeless Way of Building- patterns of events]\\ | [reference to :There is a Timeless Way of Building- patterns of events]\\ | ||
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- | + | ====Aim==== | |
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- | After Coming across some problematic patterns | + | After Coming across some problematic patterns |
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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.\\ | ||
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===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 precedes in parts, and actually gives birth to them, by splitting (so becoming different in the process of growth or development) | 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 in parts, and actually gives birth to them, by splitting (so becoming different in the process of growth or development) | ||
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{{zeeland.jpg? | {{zeeland.jpg? | ||
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People made their own paint from fresh oxblood en lijnolie so all the barns had this typical ox-red color in their interiors, and outside they paint their barns with black tar, with white frames around its doors, so one could find the opening when coming home drunk in the dark. Though still one had to watch out; to enter one had to make a high step; this was made to prevent the waters coming in at high tide. | People made their own paint from fresh oxblood en lijnolie so all the barns had this typical ox-red color in their interiors, and outside they paint their barns with black tar, with white frames around its doors, so one could find the opening when coming home drunk in the dark. Though still one had to watch out; to enter one had to make a high step; this was made to prevent the waters coming in at high tide. | ||
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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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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I will describe their patterns they have deepened over the years quite distinct.\\ | I will describe their patterns they have deepened over the years quite distinct.\\ | ||
{{balloon3.jpg? | {{balloon3.jpg? | ||
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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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- | {{17.jpg? | + | {{17.jpg? |
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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 as well the dose or flow of oxygen which slows you down.\\ | * 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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===Air ventilation=== | ===Air ventilation=== | ||
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 going on inside the inflatable. [see as well Festo’s Exhibition Hall at temperature] | 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 going on inside the inflatable. [see as well Festo’s Exhibition Hall at temperature] | ||
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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 via another flap one enters the inner airlock (tunnel left), and via a last doorflap finally in the mainstructure (on the far left). An assistent ensurse that the outer doorflaps are closed before the inner doorflap is opened.// | 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 via another flap one enters the inner airlock (tunnel left), and via a last doorflap finally in the mainstructure (on the far left). An assistent ensurse that the outer doorflaps are closed before the inner doorflap is opened.// | ||
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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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(Transparent) inflatables, | (Transparent) inflatables, | ||
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{{soap_uit_flying_lightness.jpg? | {{soap_uit_flying_lightness.jpg? | ||
Stacking spheres and making them share their skins lead to the minimum energy structure of foam. Foam consists of shapes with an average of 14 faces, a minimum energy structure in the sense that stress is optimally divided in spaces. Various cells with different diameters can be build together in a stable way. If we combine, for instance, three articulated cells we obtain a multi-dome construction in which the dividing walls, possibly reduced to pillars, become structural elements loaded with pure tension. [from flying lightness] | Stacking spheres and making them share their skins lead to the minimum energy structure of foam. Foam consists of shapes with an average of 14 faces, a minimum energy structure in the sense that stress is optimally divided in spaces. Various cells with different diameters can be build together in a stable way. If we combine, for instance, three articulated cells we obtain a multi-dome construction in which the dividing walls, possibly reduced to pillars, become structural elements loaded with pure tension. [from flying lightness] | ||
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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=== | ||
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[[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. | ||
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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, | ||
Line 860: | Line 568: | ||
+ | ==== 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 profession is) react very strongly on the visual collection of the research, and yes it was the part I enjoyed doing the most. | ||
+ | |||
+ | - As a follow up from this research I have like do realize two events where I will develop inflatable spaces solely inflated by wind. | ||
+ | |||
+ | - 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. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | =====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 | ||