Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
Next revision		 Previous revision
Next revisionBoth sides next revision
pneumatology [2008-02-17 20:59] – 217.166.72.254pneumatology [2008-02-20 14:05] – 62.166.51.71
Line 26: Line 26:
  
  
 +
 +
 +
 +
 +
 +
 +
 +
 + 'Inflatable Inspirations' is a detailed survey of interesting infatable projects. It consists of a visual survey, a survey of innovative inflatable experts and materials and theory about what makes an inflatable alive (on body and architectural scale)
 +
 +This survey has been conducted in books, online and other sources, partly resting on previous experience with and interest in inflated projects. This survey can be interesting to all those working or willing to work with inflatable constructions, media, food or other inflated things.
 +
 +There are some books and magazines about inflated projects but these mostly limit themselves to a survey of inflatable architecture or inflated art-objects and design. My survey will include many different inflated things which have an inflated nature such as:
 +
 +    *
 +      nature
 +    *
 +      architecture
 +    *
 +      design
 +    *
 +      art
 +    *
 +      food
 +    *
 +      fashion
 +    *
 +      technology and science
 +    *
 +      Tensile Inflatables
 +
 +there are a few material libraries in europe, but none have a section focused for inflatables
  
  
Line 33: Line 65:
 [[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. [[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. 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, both mentally and physically and it has aswell often become the creation of novel photogenic images. Buildings neither breathe nor allow breath.  
  
 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.  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. 
Line 41: Line 70:
  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 a flexable membrane act as a continuous space-defining skin and above all it's able to give shape of –air- itself.+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.  
  
  
Line 64: Line 93:
 {{ant_.jpg?450}} {{ant_.jpg?450}}
  
-//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. 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. 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.//
  
Line 73: Line 102:
 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.
 +
  
  
  
 ===== 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. 
Line 90: Line 120:
 [reference to :There is a Timeless Way of Building- patterns of events]\\ [reference to :There is a Timeless Way of Building- patterns of events]\\
 \\ \\
 +
  
  
Line 105: Line 136:
  
    ***Design considerations for inflatable structures**    ***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…\\+After Coming across some problematic patterns in creating inflatables myself, 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…\\
  
  
Line 522: Line 553:
 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.\\
 \\ \\
 +
  
  
Line 539: Line 571:
   * 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, ISBN 90-72138-00-7   * Leven op ’t hof, Gerard smallegange, ISBN 90-72138-00-7
 +  * Form Defining Strategies, Markus Hudert
  
  
  • pneumatology.txt
  • Last modified: 2009-08-30 15:25
  • by 87.210.211.132