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pneumatology [2008-01-15 18:45] – theunkarelsepneumatology [2008-02-20 20:35] – 62.166.51.71
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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 ============ +
 [//pneumatology: from pneuma, meaning air, wind, spirit, soul//]\\ [//pneumatology: from pneuma, meaning air, wind, spirit, soul//]\\
 \\ \\
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 //[[Cocky Eek]] - 2008// //[[Cocky Eek]] - 2008//
  
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- +====Context====
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 <sub>This research is written in the context of [[foam]]'s multireal and real worlds:\\ <sub>This research is written in the context of [[foam]]'s multireal and real worlds:\\
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 //MultiReal//: 'translocal': Art in uncertain conditions //MultiReal//: 'translocal': Art in uncertain conditions
---> 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, cheap technological solutions for providing full-body participatory media experiences, portable and soft 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, cheap technological solutions for providing full-body participatory media experiences, portable and soft architectures...)\\+
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 //Real//: 'levitating': 'off the ground' & 'out of this world'. //Real//: 'levitating': 'off the ground' & 'out of this world'.
---> from extreme sports to extreme arts, (sometimes) defying the laws of physics. experiments in wind tunnels and zero-gravity, under-water and hanging from cliff-tops. have the arts become too tame and too self centered? has everything already been experienced? can arts still provide excitement and surprise as they used to when they were more in tune with what society experienced in everyday life? What games to we want to play in a world of mixed realities? (small performances and public +--> from extreme sports to extreme arts, (sometimes) defying the laws of physics. experiments in wind tunnels and zero-gravity, under-water and hanging from cliff-tops. have the arts become too tame and too self centered? has everything already been experienced? can arts still provide excitement and surprise as they used to when they were more in tune with what society experienced in everyday life? What games to we want to play in a world of mixed realities? (small performances and public interventions, expeditions and playgrounds)\\
-interventions, expeditions and playgrounds)\\+
 \\ \\
-I've tasted 3 design principles of [[gRig]]:+while working on this research, I have scanned three design principles of [[gRig]]:
  //sustainability//  //sustainability//
  //playfulness//   //playfulness// 
  //modularity//</sub>  //modularity//</sub>
  
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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’, in here he describes a scene from Cernavantes’ novel, leaving me with an unforgettable impression of lightness, in which Don Quixote drives his lance through the sail of a windmill and is hoisted up into the air. And I wonder can we construct our worlds from this lightness. 
-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, both mentally and physically and it has aswell often become the creation of novel photogenic images. Buildings neither breathe nor allow breath.  
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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's soul and the -anima mundi-, the soul of the world.  
-This indicates a link to contemporary environmental questions. 
- Philibert Delorme's [French Renaissance architect 1514 -1570] describes that -the prudent architect is fully utilizing all his senses, and explains that the sense-less architect has "little nose" because he does not have the intuition of good things-, is evidence that the pneumatic architectural imagination is multi-sensorial. Renaissance notions of pneuma revealed a concern for the connectedness of person and place where architecture can refine the qualities of air to. 
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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, its mobility, its playfulness, and its closely relatedness to its surroundings through its thin flexible membrane, acting as our third skin and above all it's able to give shape of –air- itself. 
  
  
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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’, in here he describes a scene from Cernavantes’ novel, leaving me with an unforgettable impression of lightness, in which Don Quixote drives his lance through the sail of a windmill and is hoisted up into the air. And I wonder can we construct our worlds from this lightness.
 +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's soul and the -anima mundi-, the soul of the world. 
 +This indicates a link to contemporary environmental questions.
 + Philibert Delorme's [French Renaissance architect 1514 -1570] describes that -the prudent architect is fully utilizing all his senses, and explains that the sense-less architect has "little nose" because he does not have the intuition of good things-, is evidence that the pneumatic architectural imagination is multi-sensorial. Renaissance notions of pneuma revealed a concern for the connectedness of person and place where architecture can refine the qualities of air to.
  
 +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.+  * They have a nomadic character, in such a way that they are mobile or portable 
 +  * They can be seen as breathing living organisms in which their visitors can become co-structures of a space.
  
 {{big_infl_.jpg?450}} {{big_infl_.jpg?450}}
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 {{ant_.jpg?450}} {{ant_.jpg?450}}
  
-//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. Only people in this state of being are in a position to give free rein to change. +//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. Often people in this state of being are in a position to give free rein to change. 
-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, diversity occurs, because new solutions are constantly being found.//+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, diversity occurs, because new solutions are constantly being found.//
  
  
-===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 there is an inflated space. To enter the space; take a knife and make an incision. +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 little book -[[The Eyes of the Skin]]- he described some general problem domains in our contemporary architecture which were laying on the tip of my tongue.+Juhani Pallasmaa’s described in -[[The Eyes of the Skin]]- some general problem domains in our contemporary architecture:
  
-     *The current over-emphases of intellectual and conceptual dimensions of architecture contributes to the disappearance of its physical, sensual and embodied essence.  +  * 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. +  * While computer design can give us new insights in architecture we shouldn’t forget that creative work calls aswell 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, causing a feeling of detachment and alienation. 
-     *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, causing a feeling of detachment 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; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle, the way places feel, the sound and the smell of places has equal weight to way things look.  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; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle, the way places feel, the sound and the smell of places has equal weight to way things look. 
-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, architecture is communication from the body of the architect directly to the body of the person who encounters the work.+  * 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, architecture is communication from the body of the architect directly to the body of the person who encounters the work. 
 + 
 +  * 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, reading, storing, sleeping, intimate acts- not by visual impacts. Architecture initiates, directs and organizes behavior and movements. Consequently basic architecture experiences have a verb form rather than being nouns. Authentic architectural experiences consist then, for instance, of approaching or confronting a building, rather than the formal apprehension of a facade, of the act of entering and not simple the visual design of the door; of looking in or out through a window, rather than the window itself as a material object.  The experience of home is structured by distinct activities – cooking, eating, socializing, reading, storing, sleeping, intimate acts- not by visual impacts. Architecture initiates, directs and organizes behavior and movements. Consequently basic architecture experiences have a verb form rather than being nouns. Authentic architectural experiences consist then, for instance, of approaching or confronting a building, rather than the formal apprehension of a facade, of the act of entering and not simple the visual design of the door; of looking in or out through a window, rather than the window itself as a material object. 
 [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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-=====Research topics===== +   ***A Visual Collection of -Inflatble Structures-** 
-   ***A Visual Collection of -Alive Inflatables-** +There a some books which give an overview off all kinds of inflatables, but there isn,t an overview of all kinds of different techniques or structures for inflation are used.
-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 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 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. +
-So I look for inflatable architectural structures which are alive in one way or another, where something is happening. +
-the collection of Living Inflatables one can see at: ……. +
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-  ***A pattern language for -living inflatables** +
-Chistopher Alexander has unraveled in 1977a pattern language to create 'living architecture’. Its a tool for anyone willing to surpass the general problem domains in our contemporary architecture as stated above, which often leaves us with a feeling of being alienated and detachment. This pattern language is based on the actions which takes place in space and time which makes one feel “alive”. I have summarized his patterns which can be used by anyone interested in building stuff. +
-And I have made a specific pattern language for -inflatable architectural structures-, based on Architects of Air’s inflatable -Luminarium-. Everybody can use these patterns as a guideline to create one’s own ‘living inflatables’  +
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-   ***Design considerations for inflatable structures** +
-After Coming across some problematic patterns among my own experience of creating inflatables, and the inflatable structures of the architects of Airs’s Luminarium and some more colleagues,  I thought its worthwhile to acknowledge the most common obstacles one comes across in inflatable structures anyhow. When we are able to surpass these obstacles, these structures will be more stable and alive. It considers issues like; dominant odors, choosing the right materials, energy sources, climate control etc. In this part no solutions will be given to any design problem, but some suggestions will be given so now and then…\\ +
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 +  ***Christopher Alexander's pattern language**
 +Chistopher Alexander has unraveled in 1977 a pattern language to create 'living architecture’. Its a tool for anyone willing to surpass the general problem domains in our contemporary architecture as stated above, which often leaves us with a feeling of being alienated and detachment. This pattern language is based on the actions which takes place in space and time which makes one feel “alive”. I like to  summarize his patterns which can be used by anyone interested in building stuff.
  
 +  *** 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  3 days in their Luminarium standing in a small village in Holland and it was only open for mental handicaped people. So exploring their inflatable space inside out on the field I tried to come to an inflatable pattern language for inflatable architectural structures.
  
 +- 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.  So I thought it's worthwhile to underline the most common obstacles one comes across in inflatable structures anyhow. When we are able to surpass these obstacles, these structures will be more stable and alive. It considers issues like; dominant odors, choosing the right materials, energy sources, climate control etc. In this part no solutions will be given to any design problem, but some suggestions will be given so now and then…\\
  
 +- For the collection of physical materials suited for inflatables for foam's public library - I asked experts which I interviewed, and collected them at several fairs and collect them from my own archieve.
  
 +- 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.
  
 +====Results====
 +#
 +visual survey of -alive inflatables- ,
 +#
 +Christopher Alexanders timeless way of building
  
 +a pattern language for inflatable architectural structures
 +#
 +a collection of physical materials suited for inflatables for foam's public library
 +#
 +a collection of innovative inflatable experts, labs etc found at [[Inflatable Structures]]
  
  
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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. +  1. the same broad features keep recurring over and over again. 
-2.   in their detail appearance these broad features are never twice the same. +  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?500}} {{zeeland.jpg?500}}
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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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 //"When I am working on a problem, I never think about beauty but when I have finished, if the solution is not beautiful, //"When I am working on a problem, I never think about beauty but when I have finished, if the solution is not beautiful,
  I know it is wrong."     --[[Buckminster Fuller]]--//\\  I know it is wrong."     --[[Buckminster Fuller]]--//\\
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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?400}}\\ {{balloon3.jpg?400}}\\
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 {{column.jpg?175x250}}{{architectsofair_light.jpg?350x250}}\\ {{column.jpg?175x250}}{{architectsofair_light.jpg?350x250}}\\
 //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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   * 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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-//[[Buckminster Fuller]] thougt of the whole context when designing.// +//[[Buckminster Fuller]] thought of the whole context when designing.//
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 //Architects of air’s airlock; one entrances through an open entrance-portal (right) //Architects of air’s airlock; one entrances through an open entrance-portal (right)
 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?750}}{{igloo_door.jpg?250}}\\ {{how_to_make_a_door.jpg?750}}{{igloo_door.jpg?250}}\\
    
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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, like glass, can evoke destructive/aggressive behavior (Transparent) inflatables, like glass, can evoke destructive/aggressive behavior
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 {{soap_uit_flying_lightness.jpg?250}}{{soap.jpg?250}}\\ {{soap_uit_flying_lightness.jpg?250}}{{soap.jpg?250}}\\
 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't have to use electricity to inflate something.\\ 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't have to use electricity to inflate something.\\
    
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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]]'s**: nowadays there are many material libraries like Materio in Enschede; the Design Academy in Eindhoven, Materialsense, Materialconnexion or Materia. Althought you can visit them online a physical visit is worthwhile when it comes down to materials because you simply want to touch them.\\ [[material_library]]'s**: nowadays there are many material libraries like Materio in Enschede; the Design Academy in Eindhoven, Materialsense, Materialconnexion or Materia. Althought you can visit them online a physical visit is worthwhile when it comes down to materials because you simply want to touch them.\\
 **Fairs**: The composite fair in France (for composite sticks), TechnoTextile, every 2 years in Frankfurt, Macropak te Utrecht, [[cradle_to_cradle]] fair in Frankfurt 12-18 november 2008, with only products which are nutrients for the bio or technical cycle. Cradle to Cradle is aswell connected to materialconnexion] **Fairs**: The composite fair in France (for composite sticks), TechnoTextile, every 2 years in Frankfurt, Macropak te Utrecht, [[cradle_to_cradle]] fair in Frankfurt 12-18 november 2008, with only products which are nutrients for the bio or technical cycle. Cradle to Cradle is aswell connected to materialconnexion]
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 ===Anchoring=== ===Anchoring===
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 {{anchoring_2.jpg?450}}\\ {{anchoring_2.jpg?450}}\\
 Theo Botschuiver's Space audtorium was anchored by digging a flap in the local sand of the beach[see aswell Festo’s Airquarium at Temperature]  Theo Botschuiver's Space audtorium was anchored by digging a flap in the local sand of the beach[see aswell Festo’s Airquarium at Temperature] 
 +
 ===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, seemingly floating in boundless space or tumbling into unfathomable depths just by the play of light. The experience of light and colour inside inflatables can for instance purely be createdy by daylight shining through semi- translucent coloured materials - the atmosphere inside alters according to changing weather, rainfall, clouds, sun, shade of moving trees etc.\\ The spaces can leave the spectator disorientated, seemingly floating in boundless space or tumbling into unfathomable depths just by the play of light. The experience of light and colour inside inflatables can for instance purely be createdy by daylight shining through semi- translucent coloured materials - the atmosphere inside alters according to changing weather, rainfall, clouds, sun, shade of moving trees etc.\\
        
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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]], and the bioplastic as it is biodegradable, but when you look further and you find out that it is grown as a monoculture and erosing the grounds and pollutes the air massively by its production and which has to travel from far, then one can wonder if this is that beautiful ‘bio-degradable’ material we want. But it isn't always that simple; for instance one wants to use [[bioplastic]], and the bioplastic as it is biodegradable, but when you look further and you find out that it is grown as a monoculture and erosing the grounds and pollutes the air massively by its production and which has to travel from far, then one can wonder if this is that beautiful ‘bio-degradable’ material we want.
 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, Chistopher  Alexander, Sara Ishikawa en Muray Silversteien. 1977, ISBN 90-70-102269 
-  * Aeolian Winds and the the Spirit in renaissance Architecture, Barbara Kenda, 2006, ISBN10:0-415-39804-5 (pbk) 
-  * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514 
-  * Intelligent Skins, Michael Wigginton - Jude Harris,2002, ISBN-0750648473 
-  * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 
-  * Where's my Space Age, Sean Topham, 2003, ISBN 3-7913-2844-1 
-  * 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, ISBN 90-72138-00-7 
  
  
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 +==== Discussion====
 +- As I've  mentioned in the context I have scanned via the inflatables three design principles and I like to come back to them a bit
  
 +  * //sustainability//   We all now that this is quite complex matter and I wonder if sustainability is really a word that can empower us... The word itself is putting a heavy load on our shoulders. It can paralyze us, or pushes our guild buttons; we must shrink our presence, our systems, our activities ans so on. So it blocks our creativity. But we are part of nature to!  So maybe what empowers us more is for instance to think in bio-life-cycles. And we don’t have to be perfect right now, for instance the biodegradable materials we want are not all available now, but we can set our goals for 20 years from now in which we define where we wanna go. Another thing I like to mention is that something sustains itself, when its made with real care and when its patterns are deeply connected to our own experiences, then we automatically like to look after it.
 +
 +    * The second design principle playfullness, reminds me most of a documentary I've seen about otters; in one scene; an otter is swimming in a river, and that day a thick layer of snow was fallen. One moment the otter is passing a hilly bank covered with snow. he goes out of the water and ran up the hill, and slides down into the water, he repeats it about 5 more times and then continues swimming in the river. There was no purpose for the otter for gliding down this hill, no other then that he enjoyed doing do. Maybe I selected the pictures for the Inflatable Inspirations with this quality of playfullness in the back of my mind. Its there where rigidity stops and “flow” occurs.
 +
 +    * 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, can generate a natural thing; because this kind of process can shape parts individually, according to their position in the whole.
 +
 +- 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.
 +
 +- 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, Chistopher  Alexander, Sara Ishikawa en Muray Silversteien. 1977, ISBN 90-70-102269
 +  * Aeolian Winds and the the Spirit in renaissance Architecture, Barbara Kenda, 2006, ISBN10:0-415-39804-5 (pbk)
 +  * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514
 +  * Intelligent Skins, Michael Wigginton - Jude Harris,2002, ISBN-0750648473
 +  * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7
 +  * Where's my Space Age, Sean Topham, 2003, ISBN 3-7913-2844-1
 +  * 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, ISBN 90-72138-00-7
 +  * Form Defining Strategies, Markus Hudert
  
  
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  • Last modified: 2009-08-30 15:25
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