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pneumatology [2008-02-20 15:31] – 62.166.51.71 | pneumatology [2008-02-21 12:01] – 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==== | ||
- | ' | + | |
- | * 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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- | ==== results ==== | ||
- | As I' | ||
- | -sustainability: | ||
- | The first thing it does is putting a heavy load on us. It rather paralyzes us. | ||
- | -The second design principle palyfullness, | ||
- | -The thirt principle was modularity: | ||
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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 with its own integrity. Its close related to its surrounding its specifically bodily and tactile by nature and its portable, mobile, and playful. | 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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- | =====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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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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+ | * // | ||
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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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* Nature Culture Fusion-Louis, | * Nature Culture Fusion-Louis, | ||
* Leven op ’t hof, Gerard smallegange, | * Leven op ’t hof, Gerard smallegange, | ||
- | * Form Defining Strategies, Markus Hudert | + | |