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pneumatology [2008-02-20 15:55] – 62.166.51.71pneumatology [2008-02-23 21:01] – 62.166.51.71
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-====Context==== 
  
-//Pneumatology// consists of  +
-  * 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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-====Lightness as a state of being====+ 
 + 
 +===== 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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-====Aim==== 
  
  
-=====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 'living architecture’. Its a tool for anyone willing to surpass the general problem domains in our contemporary architecture as stated above, which often leaves us with a feeling of being alienated and detachment. This pattern language is based on the actions which takes place in space and time which makes one feel “alive”. I have summarized his patterns which can be used by anyone interested in building stuff. 
-And I have made a specific pattern language for -inflatable architectural structures-, based on Architects of Air’s inflatable -Luminarium-. Everybody can use these patterns as a guideline to create one’s own ‘living inflatables’  
  
-   ***Design considerations for inflatable structures** + 
-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…\\+ 
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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.  A temperature of 27oC/ 80oF outside could mean that inside may be uncomfortable.  When it is this warm one can use water misters to spray the air. Additional strategies to deal with heat is to place the inflatable near shade if possible or cooling by air-conditioning. Or making use of materials which reflects the sunlight.+Heat- There is always a temperature differential - it will generally be warmer inside an inflatable than outside.  A temperature of 27oC/ 80oF outside could mean that inside may be uncomfortable.  When it is this warm one can use water misters to spray the air. Additional strategies to deal with heat is to place the inflatable near shade if possible or cooling by air-conditioning. Or making use  of materials which reflects the sunlight.
  
 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't have to use electricity to inflate something.\\ +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't have to use electricity to inflate something.
- +
          
- +=== What kind of materials you wanna use===
-===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, which determines what is in and what is out.... a skin who has a close relation with its surrounding which can adapt; get pimpels for protection against the cold or from excitement. It can change color: blue from being cold, red from being ashame or excitement, it can dry out get brown, get pocky from being polluted it can sweat, it has eyes and it can breath, and it decays nicely. 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, which determines what is in and what is out.... a skin who has a close relation with its surrounding which can adapt; get pimpels for protection against the cold or from excitement. It can change color: blue from being cold, red from being ashame or excitement, it can dry out get brown, get pocky from being polluted it can sweat, it has eyes and it can breath, and it decays nicely.
 One can make it responsive by integration of [[subtle technologies]], one can look for qualities like scales in translucency or elasticity. Some materials have to be highfrequency sealed other can be glued or just stitched. Other qualities are; non static, biodegradable, lightweight, strong, resistant to tearing, self-repairing. Toxic materials aren’t that beautiful: pvc's are very toxic like many fire-retardant materials based upon PBDE or BFR are extremely toxic, which have proven to cause development disturbances. When you’re self working with it, you can feel yourself it isn't healthy. There are plastics which contain no toxics. When a material says free of….it doesn’t mean that the replacements can be worse. So just define whats in it and if its toxic or not. (can you eat it or not). One can make it responsive by integration of [[subtle technologies]], one can look for qualities like scales in translucency or elasticity. Some materials have to be highfrequency sealed other can be glued or just stitched. Other qualities are; non static, biodegradable, lightweight, strong, resistant to tearing, self-repairing. Toxic materials aren’t that beautiful: pvc's are very toxic like many fire-retardant materials based upon PBDE or BFR are extremely toxic, which have proven to cause development disturbances. When you’re self working with it, you can feel yourself it isn't healthy. There are plastics which contain no toxics. When a material says free of….it doesn’t mean that the replacements can be worse. So just define whats in it and if its toxic or not. (can you eat it or not).
 One can look into microfibers, non-wovens, woven vecram (used in the space industry), coated fabrics etc. One can look into microfibers, non-wovens, woven vecram (used in the space industry), coated fabrics etc.
  
- **Local manufactors**: Preferable look for local materials in a circle of 100 meter, or 1km around you. What kind of materials can you find in your own area, instead of directly looking for chinese markets where they have the cool stuff…and has to travel from afar.\\ +  
-[[material_library]]'s**: nowadays there are many material libraries like Materio in Enschede; the Design Academy in Eindhoven, Materialsense, Materialconnexion or Materia. Althought you can visit them online a physical visit is worthwhile when it comes down to materials because you simply want to touch them.\\ + 
-**Fairs**: The composite fair in France (for composite sticks), TechnoTextile, every 2 years in Frankfurt, 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]+  *Preferable look for **local materials** in a circle of 100 meter, or 1km around you. What kind of materials can you find in your own area, instead of directly looking for chinese markets where they have the cool stuff…and has to travel from afar. 
 + 
 +Nowadays there are many material libraries like:  
 +  *Materio in Enschede;  
 +  *the Design Academy in Eindhoven,  
 +  *Materialsense,  
 +  *Materialconnexion  
 +  *Materia  
 +  *[[http://www.ecolect.net/|Ecolect]]  
 +Althought you can visit them online a physical visit is worthwhile when it comes down to materials because you simply want to touch them.\\ more info on the libraries; [[material_library]] 
 + 
 +  ***Fairs**:    
 +  * The composite fair in France (for composite sticks),  
 +  * TechnoTextile, every 2 years in Frankfurt,    
 +  * 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] http://www.materialconnexion.com/cradle2cradle.asp
  
  
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-==== results ==== 
-As I've  mentioned in the context I have scanned via the inflatables three design principles;  
-  * //sustainability// I wonder if sustainability is an empowering word itself; 
-The first thing it does is putting a heavy load on us as conventionaly it focusses on what not to do. It rather paralyzes us, or pushes our guild buttons; we must shrink our presence, our systems, our activities, and even our population. But we are part of nature to! Alexanders  
-descripbes that someting sustains itself, when its made with real care. 
  
  
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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.  
  
  
  
-===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.  You will try to make sure that this creation can be preserved intact, in just its present state, forever. Canvas must be ruled out because it has to be replaced; tiles must be so hard that they will not crack, and set in concrete, so that they cannot move, and so the weed will not grow up to split the paving; 
-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. 
  
-===Cradle to Cradle=== 
-Conventional environmentalists focus on what not to do, here it can use aswell some transformation: instead of    
-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, destructive systems are the best humans can do. From our perspective, this is a depressing vision of our species role in the world. 
-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 
  
-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. 
  
-But it isn't always that simple; for instance one wants to use [[bioplastic]], and the bioplastic as it is biodegradable, but when you look further and you find out that it is grown as a monoculture and erosing the grounds and pollutes the air massively by its production and which has to travel from far, then one can wonder if this is that beautiful ‘bio-degradable’ material we want. 
-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.\\ 
-\\ 
-  * The second design principle //playfullness//, which reminds me most of a documentary  I've seen about otters; in one scene; an otter is swimming in a river, and that day a thick layer of snow was fallen. One moment the otter is passing a hilly bank covered with snow. he goes out of the water and ran up the hill, and slides down into the water, he repeates it 5 more times and then continues swimming in the river. There was no purpose for the otter for gliding down this hill, no other then that he enjoyed doing do. Maybe I selected the pictures for the Inflatable Inspirations with this quality of playfullness in the back of my mind. Its there where rigidity stops and "flow" accurs.\\ 
  
-  * The thirt principle was //modularity//+ 
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 =====references===== =====references=====
  
-===Books=== +
-  * [[Cradle to cradle]] William McDonough & Michael Braungart, 2002, ISBN-13: 978-0-86547-8 +
-  * [[The Timeless Way of Building]], Christopher Alexander, 1979, ISBN 0-19-502248-3 +
-  * Een Patroontaal, Chistopher  Alexander, Sara Ishikawa en Muray Silversteien. 1977, ISBN 90-70-102269 +
-  * Aeolian Winds and the the Spirit in renaissance Architecture, Barbara Kenda, 2006, ISBN10:0-415-39804-5 (pbk) +
-  * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514 +
-  * Intelligent Skins, Michael Wigginton - Jude Harris,2002, ISBN-0750648473 +
-  * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 +
-  * Where's my Space Age, Sean Topham, 2003, ISBN 3-7913-2844-1 +
-  * Blow Up, Sean Topham, 2002, ISBN 3-7913-2687-2 +
-  * Lightness, Adriaan Beukers - Ed van Hinte, 2001, ISBN 90-6450-334-6 +
-  * Flying Lightness, Adriaan Beukers - Ed van Hinte, 2005, ISBN 90-6450-538-1 +
-  * [[The Eyes of the Skin]], Juhani Pallasmaa, 2005, ISBN 0470015780 +
-  * Nature Culture Fusion-Louis, G. Le Roy, 2002 ISBN 90-5662-278-1. +
-  * Leven op ’t hof, Gerard smallegange, ISBN 90-72138-00-7 +
-  * Form Defining Strategies, Markus Hudert+
  
  
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