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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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- | --> 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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- | ====Lightness as a state of being==== | + | |
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+ | ===== Lightness as a state of being ===== | ||
Around our contemporary environmental questions at least one thing became clear to me and that’s that out of fear, or to build on top of our guilt, we can’t create anything. So instead I rather like to slide the heavy burden of my shoulders and choose the quality of lightness. | Around our contemporary environmental questions at least one thing became clear to me and that’s that out of fear, or to build on top of our guilt, we can’t create anything. So instead I rather like to slide the heavy burden of my shoulders and choose the quality of lightness. | ||
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- | 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 having | + | 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. |
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- | //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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- | =====Research topics===== | ||
- | ***A Visual Collection of -Alive Inflatables-** | ||
- | In looking for structures for inflatables as a visual survey; I became very tired quickly. | ||
- | Maybe because I came across a lot of dead stuff. So I decided to intuitively look for inflatables I just liked. And then after looking at them I found out what the quality of these inflatables was and that was that they were alive. In such a way that it are inflatable spaces you want to be emerged with, play with, be involved with | ||
- | And some of these inflatables are to simple to be true, but have an amazing opening effect on people. | ||
- | So I look for inflatable architectural structures which are alive in one way or another, where something is happening. | ||
- | the collection of Living Inflatables one can see at: ……. | ||
- | ***A pattern language for -living inflatables** | ||
- | Chistopher Alexander has unraveled in 1977a pattern language to create ' | ||
- | And I have made a specific pattern language for -inflatable architectural structures-, | ||
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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, | + | |
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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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A single skin inflatable can become instant hot when the sun shines, or freezing cold when not. | A single skin inflatable can become instant hot when the sun shines, or freezing cold when not. | ||
For temperature regulation one can think of a double skin; where walls of air will have an isolation function and at the same time an acoustics isolation function. In this way the walls can as well become a part of the construction. The climate in these zones can be influenced artificially. | For temperature regulation one can think of a double skin; where walls of air will have an isolation function and at the same time an acoustics isolation function. In this way the walls can as well become a part of the construction. The climate in these zones can be influenced artificially. | ||
- | Heat- There is always a temperature differential - it will generally be warmer inside an inflatable than outside. | + | Heat- There is always a temperature differential - it will generally be warmer inside an inflatable than outside. |
Cold – One can use portable heaters and a layer of polyurethane foam beneath the structure. | Cold – One can use portable heaters and a layer of polyurethane foam beneath the structure. | ||
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Or even is it possible to get the natural wind streams direct inside the inflatables. | Or even is it possible to get the natural wind streams direct inside the inflatables. | ||
Windy cities with high buildings or seasides can develop spots with a constant flow of high wind-speeds. | Windy cities with high buildings or seasides can develop spots with a constant flow of high wind-speeds. | ||
- | Or work with green energy sources like: windmills, wind towers, scoops, solar power, kite set-ups etc. to generate energy for inflating. Or one can make use of self-inflating techniques where you wouldn' | + | Or work with green energy sources like: windmills, wind towers, scoops, solar power, kite set-ups etc. to generate energy for inflating. Or one can make use of self-inflating techniques where you wouldn' |
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- | + | === What kind of materials | |
- | ===What kind of skins do you want to inflate=== | + | |
The skin maybe the biggest organ in architecture. Its that thin fleece which keeps the integrity of a space whole. You can design different kinds of qualities for the skin: a skin which is semipermeable, | The skin maybe the biggest organ in architecture. Its that thin fleece which keeps the integrity of a space whole. You can design different kinds of qualities for the skin: a skin which is semipermeable, | ||
One can make it responsive by integration of [[subtle technologies]], | One can make it responsive by integration of [[subtle technologies]], | ||
One can look into microfibers, | One can look into microfibers, | ||
- | **Local manufactors**: | + | |
- | [[material_library]]' | + | |
- | **Fairs**: The composite fair in France (for composite sticks), TechnoTextile, | + | |
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+ | *Materio in Enschede; | ||
+ | *the Design Academy in Eindhoven, | ||
+ | *Materialsense, | ||
+ | *Materialconnexion | ||
+ | *Materia | ||
+ | *[[http:// | ||
+ | Althought you can visit them online a physical visit is worthwhile when it comes down to materials because you simply want to touch them.\\ | ||
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+ | ***Fairs**: | ||
+ | * The composite fair in France (for composite sticks), | ||
+ | * TechnoTextile, | ||
+ | * Macropak te Utrecht, | ||
+ | *[[cradle_to_cradle]] fair in Frankfurt 12-18 november 2008, with only products which are nutrients for the bio or technical cycle. Cradle to Cradle is aswell connected to materialconnexion] | ||
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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' | ||
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+ | * The second design principle playfullness, | ||
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+ | * The thirth principle was modularity. One can always ask yourself how does it feel, to have a modular surrounding. 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 place in which it occurs. Each part is slightly different, according to its position in the whole. Each branch of a tree has a slightly different shape, according to its position in the tree. Each leaf on the branch is given its detailed form by its position on the branch. 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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+ | - Up to now I noticed people (no matter what their background is) react very strongly on the visual collection of the research, and yes it was the part I enjoyed doing the most. | ||
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+ | - As a follow up from this research I have like do realize two events where I will develop inflatable spaces solely inflated by wind. | ||
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+ | - I l like to continue on three parts of the research; the collections of the visual survey, the collection of inflatable materials for the library and the list of interesting inflatable producers, labs, experts etc. | ||
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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, | ||
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