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[[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. | ||
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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, | ||
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' | ||
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- | Inflatable architecture is simply constructed | + | And in wondering if we can construct our worlds |
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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. | ||
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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. |
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===== Some general problem domains in contemporary architecture===== | ===== Some general problem domains in contemporary architecture===== | ||
- | While reading | + | Juhani Pallasmaa’s |
* The current over-emphases of intellectual and conceptual dimensions 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; | ||
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[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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- | After Coming across some problematic patterns | + | After Coming across some problematic patterns |
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but you can set your goal for 20 years, just define where you wanna go.\\ | but you can set your goal for 20 years, just define where you wanna go.\\ | ||
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* Flying Lightness, Adriaan Beukers - Ed van Hinte, 2005, ISBN 90-6450-538-1 | * Flying Lightness, Adriaan Beukers - Ed van Hinte, 2005, ISBN 90-6450-538-1 | ||
* [[The Eyes of the Skin]], Juhani Pallasmaa, 2005, ISBN 0470015780 | * [[The Eyes of the Skin]], Juhani Pallasmaa, 2005, ISBN 0470015780 | ||
- | * Nature Culture Fusion-Louis G. Le Roy, 2002 ISBN 90-5662-278-1. | + | * Nature Culture Fusion-Louis, G. Le Roy, 2002 ISBN 90-5662-278-1. |
* Leven op ’t hof, Gerard smallegange, | * Leven op ’t hof, Gerard smallegange, | ||
+ | * Form Defining Strategies, Markus Hudert | ||