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| research_report_cocky_eek [2008-02-23 20:59] – 62.166.51.71 | research_report_cocky_eek [2008-02-29 20:49] – 62.166.51.71 |
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| ==== general Problem ==== | |
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| Some general problem domains in contemporary architecture | |
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| Juhani Pallasmaa’s described in -The Eyes of the Skin- some general problem domains in our contemporary architecture: | ==== General Problem ==== |
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| | Juhani Pallasmaa’s quoted in -The Eyes of the Skin- some general problem domains in our contemporary architecture: |
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| * | * |
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| ====aim==== | |
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| *A Visual online Collection of -Inflatble Structures- giving an overview of all kinds of different techniques or structures for inflation on are used. | |
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| | ====Aim==== |
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| | *A visual collection online of -Inflatble Structures- giving an overview of all kinds of different techniques or structures for inflation |
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| * I like to decribe how inflatables on a body and architectural size can be made alive and can become an syneasthetical experience. | * To decribe how inflatables -on a body and architectural size- can be made -alive- and can become an syneasthetical experience. |
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| *as well usefull can be to make an overview of innovative inflatable producers, manufactors, labs, academics and practical experienced people and their specialities which can be usefull for inflatable artists and technologists. | * To make an overview of innovative inflatable producers, manufactors, labs, academics and practical experienced people and their specialities which can be usefull for inflatable artists and technologists. |
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| *research how to handle the material waste we produce in the field of inflatables | *research how to handle the material waste we produce in the field of inflatables |
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| *make a collection of physical materials/ samples for Foam's library which includeds innovative, tactile, ecofriendly, inflatable materials, [par example; alternatives for pvc's and no materials with dominant smells (like pvc) , no materials which adapt the smells of their environment, semitransparants, etc] | * To make a collection of physical materials/ samples for Foam's library which includeds innovative, tactile, ecofriendly, inflatable materials, [par example; alternatives for pvc's and materials which don't adapte smells, semitransparants, etc] |
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| ==expected outcomes of the research:== | ==expected outcomes of the research:== |
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| *2006: I expect to get a collection of interesting inflated objects,at the size on body or architectual scale, on line. It should be more diverse and playful than the collections that exist in some books and magazines. | *2006: to have a collection of interesting inflated structures, at the size on body or architectual scale, on line. It should be more diverse and playful than the collections that exist in some books and magazines. |
| *2006/2007: online theory about what makes an inflatable -alive= (on body and architectural scale) or how to make it a a syneasthetical experience | *2006/2007: online theory about what makes an inflatable -alive= (on body and architectural scale) or how to make it a syneasthetical experience |
| *2006/2007: online ideas of how to tackle the material wastes of inflatable products | *2006/2007: online ideas of how to tackle the material wastes of inflatable products |
| *2007: making an inventory of innovative inflatable- manufacturers, research labs, producers and other people working with inflatables both from the artistic and in the technological field. This survey will be online, and physical collection of catalogues if available from the companys for Foam Library. | *2007: making an inventory of innovative inflatable- manufacturers, research labs, producers and other people working with inflatables both from the artistic and in the technological field. This survey will be online, and physical collection of catalogues for Foam Library. |
| *2007: a selection of airtight and as far as possible eco/biodegradable materials and innovative fabrics for the material library at Foam | *2007: a selection of airtight and as far as possible eco/biodegradable materials and innovative fabrics for the material library at Foam |
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| - A collection of innovative inflatable experts, labs etc. I have listed them at Inflatable Structures a page already existing at Foams libarynth. Most of them I came across during making the -Alive Inflatable- visual survey and for the rest I collected them from my own archieve, the most interesed ones I asked to send brochures so to put in Foam Library. | - A collection of innovative inflatable experts, labs etc. I have listed them at Inflatable Structures a page already existing at Foams libarynth. Most of them I came across during making the -Alive Inflatable- visual survey and for the rest I collected them from my own archieve, the most interesed ones I asked to send brochures so to put in Foam Library. |
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| ====Results==== | ====Results==== |
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| *visual survey of -Inflatable Inspirations- , I came to a collection of 15 sections with specific qualities. Each section by far don't give a complete overview in its field. But the main criteria for selecting the works is that they are in one way or another inspiring and that they all can lead to new vibrations… Images of Inflatable Inspirations:[[Experience Inflatables]] - [[Powered By Wind]] - [[Parasite Inflatables]] - [[Soap Experiences]] - [[When Nature Inflates]] - [[Environmental Blendings]] - [[Hardened Bubbles]] - [[Inflatable Spaces]] - [[Inflatable Sound]] - [[Interactive Inflatables]] - [[Inflatable Wearables]] - [[The Non Categorized Inflatables]] - [[Lighter Than Air]] - [[Nasa Inflatables]] | * A visual survey of -Inflatable Inspirations- , I came to a collection of 15 sections with specific qualities. Each section by far don't give a complete overview in its field. But the main criteria for selecting the works is that they are in one way or another inspiring and that they all can lead to new vibrations… Images of Inflatable Inspirations:[[Experience Inflatables]] - [[Powered By Wind]] - [[Parasite Inflatables]] - [[Soap Experiences]] - [[When Nature Inflates]] - [[Environmental Blendings]] - [[Hardened Bubbles]] - [[Inflatable Spaces]] - [[Inflatable Sound]] - [[Interactive Inflatables]] - [[Inflatable Wearables]] - [[The Non Categorized Inflatables]] - [[Lighter Than Air]] - [[Nasa Inflatables]] |
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| | * A summary Christopher Alexanders Timeless Way of Building found underneath with the title “There is a Timeless Way of Building”: see at [[Pneumatology]] |
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| | * A pattern language for inflatable architectural structures: see [[Pneumatology]] |
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| | * Design considerations for inflatable structures: see [[Pneumatology]] |
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| | * A collection of physical materials and catalogues for inflatables for foam's public library |
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| | * An inventory of innovative inflatable- manufacturers, research labs, producers and other people working with inflatables both from the artistic and in the technological field can be found at: [[Inflatable Structures ]] \\ |
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| *summary Christopher Alexanders timeless way of building found underneth with the title “There is a timeless way of building” | |
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| *a pattern language for inflatable architectural structures see [[Pneumatology]] | |
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| *design considerations for inflatable structures see at [[Pneumatology]] | |
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| *a collection of physical materials suited for inflatables for foam's public library | |
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| *an inventory of innovative inflatable- manufacturers, research labs, producers and other people working with inflatables both from the artistic and in the technological field can be found at : [[Inflatable Structures ]] still under construction… | |
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| ==== Discussion ==== | ==== Discussion ==== |
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| - As I've mentioned in the context I have scanned via the inflatables three design principles and I like to come back to them a bit | - I scanned during this inflatable research three design principles of gRig, and I came along thre next findings during this research: |
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| * //sustainability// We all now that this is quite complex matter and I wonder if sustainability is really a word that can empower us... 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, then we automatically like to look after it. | * //sustainability// We all now that this is quite a complex matter and I really wonder if sustainability is a word that can empower us... The word itself is putting a heavy load on my shoulders. It can paralyze me, or pushes my guild buttons; we must shrink our presence, our systems, our activities and 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 another thing is that we don’t have to be perfect right now, for instance the biodegradable materials we want are just 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, then we automatically like to look after it.It also means something like wanting to preserve instead of letting something decay. |
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| * The second design principle playfullness, 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 repeats it about 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” occurs. | * The second design principle //playfulness//, 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 rans up the hill, and slides down into the water, he repeats it about 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. I guess I selected the pictures for the Inflatable Inspirations aswell all with this quality of playfullness. Its the space where rigidity stops and “flow” occurs. |
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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, can generate a natural thing; because this kind of process can shape parts individually, according to their position in the whole. | * The thirth principle was //modularity//. Christopher Alexander always asks himself the most important question when concerning spaciality: -how does it feel- as the most accurate scientific question. So one can ask himself; how does it feel to be in a modular surrounding...note that 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. And maybe that why a tree or a sea with waves is never boring. 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, can generate a natural thing; because this kind of process can shape parts individually, according to their position in the whole.// |
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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. | - As a follow up from this research I like do realize two events where I will develop inflatable spaces solely inflated by wind. |
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| | - I like to keep continueing at three parts of the research; the collection of the visual Living Inflatbles, to collect inflatable materials for the Foam library; and to keep the list of interesting inflatable producers, labs, experts etc. updated. |
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| -It was way more difficult to find eco friendly or biodegradable materials then i thought. The tex- textile fair in Ftankfurt 2007 promissed to have a lot of green materials, but none was found, I gues peoples intention is there, but yet no actual products. Maybe this year at the cradle to cradle fair at the Frankfurt messe. | -It was way more difficult to find eco friendly or biodegradable materials then I thought. The Tech-Textiele fair in Frankfurt 2007 promissed to have a lot of "green" materials, but I found not even 1, though I found a lot of 'Greenwash" textiles. Maybe this year at the cradle to cradle fair at the Frankfurt messe there will be more... |
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| -I still like to visit ... en ... en Marijke Mullarert Bruxelles , | - I noticed people (no matter their background) react very strongly on the visual collection of the research, and yes it was the part I enjoyed doing the most.// |
| to continue with the online collection of inflatable experts | // |
| the collection of physical materials | // |
| the online visual collection | |
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| ==== References ==== | |
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| | - I see roughly three visual highlights in the collection of Inflatable Inspirations: |
| | * First of there is the starts of fully controlled dirigibles, in the highlighted period of 1904- 1919. The navigational capacity of airships introduced the first airborn passenger service. Pioneers in the States and Europe start to experiment with all kinds of air ships till World War I- when air-balloons and lighter-then-air forms of transport came to be considered as outdated and ineffective. |
| | * Then about 60 years later is another highlighted period lets say from 1967-1972. The times of Theo Botschuiver, Jeffrey Shaw,(part of the Eventstructure research Group), Haus-Rucker-Co, The Pepsi- Pavilion and AGIS created constructions with a strong physical and mental impact. These inflatables can be seen as devices that greatly encourages public interaction and proved to be very popular. AGIS's constructions as Colourspace and Dreamspace were so distinct from other exhibition spaces or art institutions that they can act as a beacon that entices people and arouses curiousity, even those who have no interest in art. The structures of Architects of Air these days looks very much like that of AGIS in the sixties. And like then, the Architects of Air still design and make their pattrens all by hand. Haus-Rucker-Co were concerned with the possiblity of achieving a higher state of consiousness by means of a concentrated spatial experience. Although their inflatables had no computational embeddings, their PVC envelopes were often decorated with the circuit board like pattern of dots and lines. From here it seems that the computer allowed us to continue where their spacial visions had stopped. It allowed the creation of fascinating constructs of endless dynamic spaces, held together by complex continuous surfaces. Yet many of these designs were and are lacking something. They remain digital artefacts, as they are created in the artificial limitless world of the computer and therefor do not deal with the parameters of the real physical world... |
| | * The thirth highlight I see in the development of the interactive inflatables which starts in 2003- till now. It are three projects : the ALAVs (Autonomous Light Air Vessels), Usman Hague's Open Burble and Sky Ear project, and Thoughts Go By Air, from Machine Cent'red Humanz; they are all evolving project over several years, of networked objects that communicate the concept of connectivity among each other, people, objects, and the environment. It looks asif all three projects are really co-developed in a physical and virtual environment, allowing the two to constantly exchange relevant information, and inform each other. |
| | * So from here I see possibilities for new developments in [hybrid] spatial inflatables over time co-developed in a physical and virtual environment, allowing the two to constantly exchange relevant information, and inform each other, to create mind-expanding spaces, without a feeling of detachment or being alienated. |
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| 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 | |
| | ==== References ==== |
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| | 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) | * 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 | * Six Memos for the Next Millenium, Italo Calvino, 1996, ISBN 9780099730514 |
| * Intelligent Skins, Michael Wigginton - Jude Harris,2002, ISBN-0750648473 | * Intelligent Skins, Michael Wigginton - Jude Harris,2002, ISBN-0750648473 |
| * Panamarenko - de retrospectieve, koninklijke Musea voor de schone kunsten van Belgie, 2006, ISBN 90-5544-573-8 | |
| * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 | * The Inflatable moment, Marc Dessauce, 1999, ISBN 1-56898-176-7 |
| * Where's my Space Age, Sean Topham, 2003, ISBN 3-7913-2844-1 | * Where's my Space Age, Sean Topham, 2003, ISBN 3-7913-2844-1 |
| * Blow Up, Sean Topham, 2002, ISBN 3-7913-2687-2 | * Blow Up, Sean Topham, 2002, ISBN 3-7913-2687-2 |
| * Lightness, Adriaan Beukers - Ed van Hinte, 2001, ISBN 90-6450-334-6 | * Lightness, Adriaan Beukers - Ed van Hinte, 2001, ISBN 90-6450-334-6 |
| * The Eyes of the Skin, Juhani Pallasmaa, 2005, ISBN 0470015780 | * 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 |
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| MAGAZINES: | MAGAZINES: |
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