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pneumatology [2008-02-20 18:55] – 62.166.51.71 | pneumatology [2009-08-25 13:43] – 87.210.211.132 | ||
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- | =====P N E U M A T O L O G Y===== | + | ========pneumatology======== |
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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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- | ====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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- | ====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 ' | ||
- | 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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//" | //" | ||
I know it is wrong." | I know it is wrong." | ||
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- | =====An Inflatable Pattern Language===== | ||
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- | Architects of Air [UK] are creating every year a new inflatable structure where people can be moved to a sense of wonder at the phenomenon of light it aims to bring a visual surprise and excitement into the everyday environment. There structures are working quite well and I | ||
- | I will describe their patterns they have deepened over the years quite distinct.\\ | ||
- | {{balloon3.jpg? | ||
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- | // | ||
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- | ===Co-structors=== | ||
- | Even when an inflatable has been in situ for several weeks there is still maintained the element of surprise for those traveling to work, going shopping or to school. People walking by are drawn to discover what is within. They can see the movement of the structure caused by people walking around inside, they can see the outlines of visitors’ bodies as they lie back against the sides, they can see the regular inflation and deflation of the airlock as it swallows and disgorges groups of visitors. Once inside, visitors can enjoy the unique nature of the structure. No two visits to a structure are the same, the atmosphere inside alters according to changing weather, the changing light and the experience is also very much affected by the other visitors inside and the way that they relate to the Luminarium. The visitor’s are co-structures of the space. | ||
- | |||
- | ===Natural coloured/ | ||
- | The experience of light and colour inside is purely created by the daylight shining through the translucent parts of colored plastic - a plastic made especially for Architects of Air-. Luminescent light will add special life. | ||
- | The raindrops on the outside can be experienced on the inside through its semitransparent plastics. | ||
- | One can place an inflatable under a tree to create filtered light. Light filtering through a leafy tree is very pleasant - it lends excitement, cheerfulness, | ||
- | An object which has small scale patterns of light dancing on it is sensually pleasing, and stimulates us biologically. Some filmmakers claim the play of light upon the retina is naturally sensuous, all by itself.\\ | ||
\\ | \\ | ||
- | {{column.jpg? | ||
- | //Daylight grading down a column, The ceiling with blue luminescent stripes of 1,5 cm gives a strong luminescent effect.// | ||
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\\ | \\ | ||
- | //Frank Lloyd Wright describes his use of the canvas roof, in the very early structures at Taliesin West: | ||
- | . . the Taliesin Fellowship (is a) desert camp on a great Arizona mesa which the boys, together with myself, are now building to work and live in during the winter-time. Many of the building units have canvas tops carried by red-wood framing resting on massive stone walls made by placing the flat desert stones into wood boxes and throwing in stones and concrete behind them. Most of the canvas frames may be opened or kept closed. . . . The canvas overhead being translucent, | ||
- | there is a very beautiful light to live and work in; I have experienced nothing like it elsewhere except in Japan somewhat, in their houses with sliding paper walls or " | ||
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- | ===Sitting alcoves=== | ||
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- | {{17.jpg? | ||
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- | //There are ‘pods’ or ‘holes’ where you can sit dow, lie back, play and hide// | ||
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- | ===Disorienting and comforting=== | ||
- | The space is simultaneously disorienting because of its libarynth set up and at the same time its soft topological inner space provides a comfortable feeling. | ||
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- | ===Entrance transition=== | ||
- | The transition space before entering the main-entrance helps to slowly come to a different mindset. At the main entrance were two columns inflated on high pressure. Most people touched these columns before entering inside and entering the first, where one could take of their shoes, was a space still open to the outside air so | ||
- | there wasn’t a certain abruptness about suddenly stepping in, from the outside, directly to the inside…it is subtle, but enough to inhibit you. This is psychologically half way between indoors and outdoors, and makes is much easier, more simple to take each of the smaller steps that brings you into the inflatable. | ||
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- | ===Ceiling height variety=== | ||
- | The vaults helps to create the ceiling height variety of the different spaces inside. | ||
- | Low spaces are more intimate and high more formal. | ||
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- | ===Columns=== | ||
- | Columns are influencing the space around them, and then we are talking about a | ||
- | circle shaped area with a radius of about 1,5 meter. Column preferably should be a thick ones. | ||
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- | ===Different paths to walk=== | ||
- | When a space has crossing paths from different ' | ||
- | there, so it becomes a pleasant customary place to be. One can resolve the forces for | ||
- | themselves. | ||
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- | ===The skin=== | ||
- | Our contact with the world takes place at the boundary line of the self through specialized parts of our enveloping membrane. There is a very special beauty about inflatables. It has a softness, a suppleness, which is in harmony with wind and light and sun. It will touch all the elements more nearly than it can when it is made only with hard conventional materials. It can be used to filter very bright hot sunlight or to make total darkness, protect from wind meanwhile showing a little breeze and it can hold off a drizzle. | ||
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- | ===Portability=== | ||
- | They are build to fold away, being carried and are easily to set up. | ||
- | in combination with tensile structures [with pulling forces – in the construction] one can make strong, lightweight and portable structures. | ||
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- | ===The more problematic patterns=== | ||
- | * To me the space is too blobby round.\\ | ||
- | //[When we look at the human-power working on a space, we see that a social space should have a form in | ||
- | between | ||
- | best on us if a space is about rectangular. Even the strange geometry of a dome can be experienced as a | ||
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- | of 180-210 cm and rizes 13 till 20 percent of the smallest diameter of a space.]// | ||
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- | * It became very hot when its warm, or freezing when its cold. | ||
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- | * The PVC material which is especially smell-wise very dominant in its odeur and very toxic in its nature, so not io beautiful in the end. | ||
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- | * For me the fixed choice of colors was very dominant; it was impossible to put you own fantasy to the color, a blue was so blue, that it only gave its impact on you. In the areas where colors started to mingle were more interesting. | ||
- | * 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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The How to make a door for your bubble from Akairways.\\ | The How to make a door for your bubble from Akairways.\\ | ||
- | {{how_to_make_a_door.jpg?750}}{{igloo_door.jpg? | + | {{: |
- | ===How to extend inflatables in modular parts=== | + | ===How to extend inflatables in modular parts and watch out for fingers=== |
- | One way is to connect parts by short round corridor pipes as a space to extend and connect the pipes through waterproof zips | + | - One way is to connect parts by short round corridor pipes as a space to extend and connect the pipes through waterproof zips.\\ |
+ | - One can prevent children sticking their fingers in the ventilator by stitching a net | ||
+ | in the pipe-hole. | ||
- | {{modular_parts.jpg? | + | {{modular_parts.jpg? |
leaking connecting Corridor zips from Architects of Air | leaking connecting Corridor zips from Architects of Air | ||
- | ===Fingers and ventialators=== | ||
- | {{ventilator_net.jpg? | + | |
- | One can prevent children sticking their fingers in the ventilator by stitching a net | + | |
- | in the pipe-hole. | + | |
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===How to get the air in=== | ===How to get the air in=== | ||
- | {{air_in_inflatables.jp?450}}\\ | + | {{air_in_inflatables.jpg?600}}\\ |
One can try to make a ' | One can try to make a ' | ||
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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+ | Nowadays | ||
+ | *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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- | ==== 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, | ||
- | \\ | ||
- | * The second design principle // | ||
- | * 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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- | =====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, | + | |
- | * Aeolian Winds and the the Spirit in renaissance Architecture, | + | |
- | * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514 | + | |
- | * Intelligent Skins, Michael Wigginton - Jude Harris, | + | |
- | * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 | + | |
- | * Where' | + | |
- | * 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, | + | |
- | * Leven op ’t hof, Gerard smallegange, | + | |
- | * Form Defining Strategies, Markus Hudert | + | |