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pneumatology [2008-02-17 19:16] – 217.166.72.254 | pneumatology [2008-02-20 16:11] – 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===== | ||
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+ | ====Context==== | ||
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+ | // | ||
+ | * 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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- | --> 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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[[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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{{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 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, |
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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 |
* 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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+ | ====Aim==== | ||
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- | After Coming across some problematic patterns | + | After Coming across some problematic patterns |
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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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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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+ | ==== results ==== | ||
+ | As I' | ||
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+ | The word itself is putting a heavy load on our shoulders, and conventionaly it focusses on what not to do. It can paralyze us, or pushes our guild buttons; we must shrink our presence, our systems, our activities. So it stops our creativity. But we are part of nature to! Alexanders | ||
+ | descripbes that someting sustains itself, when its made with real care and when its patterns are deeply connected to ones own experiences then we like to look after it. Sustainability also recalls the idea of preserving, but one has to keep in perspective that all stuff is build to die. And wwe 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 can set your goal for 20 years, just define where you wanna go. maybe what empoweres us more is to think in biolife cycles. | ||
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+ | A good inflatable design can be so congruent with peoples feelings that it sustains itself- when it gets dirty or worn people take care of it themselves, because the pattern is deeply connected to their own experience. From outside, it seems as though the inflatable maintains itself almost as if by magic. | ||
+ | It is the self-sustaining character the living inflatable has, which is the result of making something with real care. | ||
+ | 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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+ | ===Getting old nicely=== | ||
+ | {{getting_old_nicely.jpg|}}\\ | ||
+ | The character of nature can’t arise without the presence and the consiousness of death. | ||
+ | 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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+ | ===Build to die=== | ||
+ | The character of nature is fluid, rough, irregular, but it will not be true, unless it is made in the knowledge that it is going to die. | ||
+ | No matter how much the person who makes a building is able to understand the rhythm of regularity, it will mean noting so long as he creates it with the idea that it must be preserved because it is so precious. If you want to preserve a building, you will try to make it in materials which last forever. | ||
+ | But to reach the quality without a name, a building must be made, at least in part, of those materials which age and crumble. Soft tile and brick, soft plaster, fading caots of paint, canvas which has been bleached a little and torn by wind. | ||
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+ | ===Cradle to Cradle=== | ||
+ | Conventional environmentalists focus on what not to do, here it can use aswell some transformation: | ||
+ | presention an inspiring and exiciting vision of change. | ||
+ | Environmental destruction is a complex system in its own right – widespread , with deeper causes that are difficultt to see and understand. Like our ansestor, we may react automatically with terror and guilt and we may look for ways to purge ourselves ( get rid of the unwanted feeling) which the eco-efficient movement provides in abundance, to focus on what not to do by minimizing, avoiding, reducing, and sacrificing. Humans are condemmed as the one species on the planet guilty of burdening it beyond what it can withstand; as such, we must shrink our presence, our systems, our activities, and even our population so as to become almost invisible. | ||
+ | But what about ourselves, we are part of human nature to and if we don’t usse our creativity we’ll die. | ||
+ | To be less bad is to accept things as they are, to believe that poorly designed, dishonorable, | ||
+ | These kind of guild we are carrying on our shoulders and especially the fear it brings with it are destroying your creativity, and it is especially this creativity you need to come up with intelligent solutions. | ||
+ | So what about an entirely different model | ||
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+ | Preferably is to work with biodegradable materials so after use one can feed | ||
+ | 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. | ||
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+ | 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 can set your goal for 20 years, just define where you wanna go.\\ | ||
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+ | * The second design principle // | ||
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+ | * The thirt principle was // | ||
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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 | ||