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pneumatology [2008-02-17 19:16] – 217.166.72.254pneumatology [2008-02-17 21:01] – 217.166.72.254
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  //playfulness//   //playfulness// 
  //modularity//</sub>  //modularity//</sub>
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  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.  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.
  
-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.+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 a flexable membrane act as a continuous space-defining skin and above all it's able to give shape of –air- itself. 
  
  
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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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 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 works. 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. 
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  • Last modified: 2009-08-30 15:25
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