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pneumatology [2008-02-17 21:05] – 217.166.72.254 | pneumatology [2008-02-20 18:55] – 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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{{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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+ | ====Aim==== | ||
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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, | 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, | ||
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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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+ | ==== Discussion==== | ||
+ | As I' | ||
+ | * // | ||
+ | The word itself is putting a heavy load on our shoulders. It can paralyze us, or pushes our guild buttons; we must shrink our presence, our systems, our activities ans so on. So it blocks our creativity. But we are part of nature to! So maybe what empowers us more is for instance to think in bio-life-cycles. And we don’t have to be perfect right now, for instance the biodegradable materials we want are not all available now, but we can set our goals for 20 years from now in which we define where we wanna go. | ||
+ | Another thing I like to mention is that something sustains itself, when its made with real care and when its patterns are deeply connected to our own experiences, | ||
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+ | * The second design principle // | ||
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+ | * The thirth principle was // | ||
+ | Nature is never modular. Nature is full of almost similar units (waves, raindrops, blades of grass-) but though the units of one kind are all alike in their broad structure, no two are ever alike in detail.\\ | ||
+ | - the same broad features keep recurring over and over again.\\ | ||
+ | - in their detail appearance these broad features are never twice the same.\\ | ||
+ | The quality of places is never twice the same, because it always takes its shape from the particular | ||
+ | So an alternative is to think of differentiating spaces: | ||
+ | It is not a process of addition, in which pre-formed parts are combined to create a whole: but a process of unfolding, like the evolution of an embryo, in which the whole precedes in parts, and actually gives birth to them, by splitting (so becoming different in the process of growth or development). Only a process of differentiation, | ||
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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 | ||