Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision Next revisionBoth sides next revision | ||
pneumatology [2008-02-17 19:06] – 217.166.72.254 | pneumatology [2008-03-01 16:11] – 62.166.51.71 | ||
---|---|---|---|
Line 1: | Line 1: | ||
- | ===== P N E U M A T O L O G Y ===== | + | |
+ | |||
+ | |||
+ | =====P N E U M A T O L O G Y===== | ||
[// | [// | ||
\\ | \\ | ||
Line 7: | Line 10: | ||
---- | ---- | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
< | < | ||
\\ | \\ | ||
// | // | ||
- | --> 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, | + | |
\\ | \\ | ||
//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, | + | |
\\ | \\ | ||
- | I've tasted 3 design principles of [[gRig]]: | + | while working on this research, |
// | // | ||
// | // | ||
Line 27: | Line 35: | ||
- | ====Lightness as a state of being==== | + | |
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | ===== 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. | 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’, | [[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. | 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. | ||
- | |||
- | 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, | ||
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' | 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' | ||
Line 40: | Line 59: | ||
| | ||
- | Inflatable architecture is simply constructed | + | And in wondering if we can construct our worlds |
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
Line 50: | Line 75: | ||
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 3rd skin our rooms and buildings.) | + | * 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 have a nomadic character, in such a way that they are mobile or portable | * 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. | * They can be seen as breathing living organisms in which their visitors can become co-structures of a space. | ||
Line 60: | Line 85: | ||
{{ant_.jpg? | {{ant_.jpg? | ||
- | //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 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, |
Line 68: | Line 93: | ||
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 voila 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. |
+ | |||
===== 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 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 |
* 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, | * 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; | 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; | ||
Line 87: | Line 114: | ||
- | =====Research topics===== | ||
- | ***A 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 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: ……. | ||
- | ***A pattern language for -living inflatables** | ||
- | Chistopher Alexander has unraveled in 1977a pattern language to create ' | ||
- | And I have made a specific pattern language for -inflatable architectural structures-, | ||
- | | + | |
- | After Coming across some problematic patterns among my own experience of creating inflatables, | + | |
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
Line 307: | Line 340: | ||
* 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.\\ | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
Line 321: | Line 364: | ||
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 as well become a part of the construction. The climate in these zones can be influenced artificially. | 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 in these zones can be influenced artificially. | ||
- | 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. | ||
Line 392: | Line 435: | ||
The How to make a door for your bubble from Akairways.\\ | The How to make a door for your bubble from Akairways.\\ | ||
- | {{how_to_make_a_door.jpg?750}}{{igloo_door.jpg? | + | {{: |
- | ===How to extend inflatables in modular parts=== | + | ===How to extend inflatables in modular parts and watch out for fingers=== |
- | 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.\\ |
+ | - One can prevent children sticking their fingers in the ventilator by stitching a net | ||
+ | in the pipe-hole. | ||
- | {{modular_parts.jpg? | + | {{modular_parts.jpg? |
leaking connecting Corridor zips from Architects of Air | leaking connecting Corridor zips from Architects of Air | ||
- | ===Fingers and ventialators=== | ||
- | {{ventilator_net.jpg? | + | |
- | One can prevent children sticking their fingers in the ventilator by stitching a net | + | |
- | in the pipe-hole. | + | |
Line 435: | Line 478: | ||
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 wind-speeds. | 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' |
- | + | ||
| | ||
- | + | === What kind of materials | |
- | ===What kind of skins do you want to inflate=== | + | |
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, | 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, | ||
- | **Local manufactors**: | + | |
- | [[material_library]]' | + | |
- | **Fairs**: The composite fair in France (for composite sticks), TechnoTextile, | + | |
+ | |||
+ | Nowadays | ||
+ | *Materio in Enschede; | ||
+ | *the Design Academy in Eindhoven, | ||
+ | *Materialsense, | ||
+ | *Materialconnexion | ||
+ | *Materia | ||
+ | *[[http:// | ||
+ | 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, | ||
+ | * 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] | ||
Line 519: | Line 575: | ||
- | =====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, | + | |
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||