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| ==== Inflatable Inspirations research report ==== | ==== Inflatable Inspirations research report ==== |
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| | [[Cocky Eek]]\\ |
| | *[[pneumatology]]: about a pattern language and a specific pattern language for inflatable structures\\ |
| | *[[Inflatable structures]]: An inventory of links for innovative //inflatable//- manufacturers, research labs, producers and other people working with inflatables both from the artistic and in the technological field, and links with innovative //inflatable// architecture, objects, & robots\\ |
| | *[[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- ,existing out 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.\\ |
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| ==== Context ==== | ==== Context ==== |
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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 an inflatable (on body and architectural scale) can be made -alive- and be an syneasthetical experience. |
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| *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. | *research how to handle the material waste we produce in the field of inflatables |
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| *research how to handle the material waste we produce in the field of inflatables | * 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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| *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] | * 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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| ==expected outcomes of the research:== | ==expected outcomes of the research:== |
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| *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: to have a visual 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 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 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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| - 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 look intuitively 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 one way or another. 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. After having an inspiring collection, all kinds of different structures unfold by themselves, and out of curiousity I was eager to give explanations by all the pictures. I gave the visual survey the name - Inflatable Inspirations- for them I searched in books, the internet, my own picture archive, and I asked collegues and experts. | - In looking for specific inflatables structures as a visual survey; I became very tired quickly. Maybe because I came across a lot of dead stuff. So I decided just to look intuitively for inflatables I just really liked on an image. After some time I found one similar line in my picture collection: and that was that they were all -alive- in one way or another. For instance it were inflatables 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 named the picture collection -Inflatable Inspirations-. So in this method I came in a reveresed way back to Buckminsters quote, trusting on the qualitys of beauty: “When I am working on a problem, I never think about beauty but when I have finished, if the solution is not beautiful, I know it is wrong.” [[Buckminster Fuller]]\\ |
| | For this collection I searched in books, the internet, my own picture archive, and asked collegues and experts. |
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| - viited the dead chamber at the Tu Delft and the exhibition _Seen in the dark - to physically experiencewhen one sence is blocked. | |
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| - I read several books which could give possible guidelines on how to create syneasthetical spaces on an architectural scale . from the most relevant I made a summary on line (Timeless way of Building, Cradele to Cradle and The Eyes of the Skin) see [[Research Inflatable Literature]] . Chistopher Alexander has unraveled in 1977 a 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. | - Then simultaniously I read several books which could give possible guidelines on how to create living - syneasthetical spaces on an architectural scale. By far the most relevant were Chistopher Alexander's writings: he unraveled in 1977 a 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. |
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| | -Then coming from Alexanders Pattern Language I have made a specific pattern language for -inflatable architectural structures-. I based it on the Architects of Air’s (UK) inflatable -Luminarium-. The Architects of Air are specicialized in making inflatable libarinths, every year deepening their patterns, by making a new libarynth. Their popular spaces are travelling all around the world and in general people find their spaces a real magical experience. I assisted 3 days in their Luminarium standing in Heemstede, a small village in Holland and that time it was only open for mental handicaped people. So exploring their inflatable space inside out on the field I tried to come to -an inflatable pattern language- for inflatable architectural structures, in such a way that everybody can use these patterns as a guideline to create one’s own ‘living inflatables’ |
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| | - I have interviewed different inflatable and light weight experts, based in the Netherland (:Rogier Houtman - Tentech, Ed van Hinte - Building Lightness, Adriaan Beukers - TU delft, Arno Pronk - TU Eindhoven, Rien de vries - Buitinck Technology). Besides an open converasion in which I treid to explore their specialities I asked them specific questions around the most problematic patterns of inflatable structures like; how they regulate the temperature so it does not become instant hot when the sun shines, or instant freezing cold: how they deal with toxic materials; the quality of air inside; how they design their entrance portals; what to do with dominant smells; etc. |
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| | - I came across some problematic patterns in the Architects of Airs’s Luminarium which I recognized in creating inflatables myself, and other inflatable experts I have interviewed. So underlined the most common obstacles one comes across in inflatable structures. 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…I called it -Design considerations for inflatable structures- |
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| | - From the three most relevant books I red I made a summary on line (Timeless way of Building, Cradle to Cradle and The Eyes of the Skin): see [[Research Inflatable Literature]] |
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| | - visited //The Dead Chamber// at the Tu Delft to experience a space where our hearing is blocked\\ |
| | - visited the exhibition //In het Donker Gezien// in Velzen Noord, made by a blind couple - to experience a space where our view is blocked.\\ |
| | - I participated the Building Lightness Seminar 15 juni te Delft http://www.lightness-studios.nl,\\ |
| | - visited the symposioum Het Duurzaamheisdillema 27 november te Utrecht http://www.utrechtmanifest.nl/\\ |
| | - vistited the Zeppelin Museum in Friedrichhafen. |
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| | - For the physical collection of inflatables materials - I asked the experts which I interviewed, and collected them at the Tech-Textile Fair te Frankfurt 2007, and collect them from my own archive. |
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| | - I have listed the innovative inflatable experts, labs etc. 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 archive, the most interested ones I asked to send brochures for Foam's Library. |
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| -From here I have tried to make a specific pattern language for -inflatable architectural structures- I based it on the Architects of Air’s (UK) inflatable -Luminarium-. The Architects of Air are specicialized in making inflatable libarinths, every year deepening their patterns, and in general people see their spaces as a real experience. I assisted 3 days in their Luminarium standing in Heemstede, a small village in Holland and it was only open for mental handicaped people. So exploring their inflatable space inside out on the field I tried to come to -an inflatable pattern language- for inflatable architectural structures.in such a way that everybody can use these patterns as a guideline to create one’s own ‘living inflatables’ | |
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| - I have interviewed different experts, based in the Netherland (Tentech, Ed van Hinte, Adriaan Beukers TU delft, TU Eindhoven, Buitinck Technology ) in the field of making inflatables spaces, and I asked them specific questions: | |
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| - Been to two symposia: Building lightness Tu Delft, and Utrecht design Bienale, | |
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| - : I came across some problematic patterns in the Architects of Airs’s Luminarium which I recognized in creating inflatables myself, and some my colleagues, and at the inflatable experts I have interviewd. So I thought it's worthwhile to underline 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…I called it -Design considerations for inflatable structures- | |
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| - For the collection of physical materials suited for inflatables for foam's public library - I have asked experts which I interviewed, and collected them at the Techno textile Fair te frankfurt 2007, and collect them from my own archive. | |
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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. | |
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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 each 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 pattern language found with the title “There is a Timeless Way of Building”: see [[Pneumatology]] |
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| | * A pattern language specific 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”: 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 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 ]] \\ | |
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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 like do realize two events where I will develop inflatable spaces solely inflated by wind. | - 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 continue over time on three parts of the research; the collection of the visual survey, the collection of inflatable materials for the library and the list of interesting inflatable producers, labs, experts etc. | - I like to keep continueing at three parts of the research; the collection of the visual Living Inflatbles (adding a section on hybrid structures), 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 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 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.// |
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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 airships 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. Right now the Luminaria from the Architects of Air (UK) have been creating total experience environments very similar (athought with a wider variety of forms) to AGIS's constructions in the sixties as Colourspace and Dreamspace. Aswell Agis and the Architects of Air's spaces are 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. Like then, the Architects of Air now still design and make all their patterns just 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 the spacial visions of the sixries and seventys had stopped. It allowed the creation of fascinating constructions of endless dynamic spaces, held together by complex continuous surfaces. To my feelings 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 starting in 2003- till now. It are projects as: 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 projects, of networked objects that communicate the concept of connectivity among each other, people, objects, and the environment. It seems that all three projects are really co-developed over several years in a physical and virtual environment, allowing the two to constantly exchange relevant information, and inform each other. |
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| -It was way more difficult to find eco friendly or biodegradable materials then I thought. The tex- Tech Textile fair in Frankfurt 2007 promissed to have a lot of green materials, but none was found, I guess peoples intention is there, but yet no actual products. Maybe this year at the cradle to cradle fair at the Frankfurt messe. | |
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| -I still like to visit ... en ... en Marijke Mullarert Bruxelles , | - So from here I see aswell possibilities for new developments in spatial inflatables co-developed over time in a physical and virtual environment, allowing the two to constantly exchange relevant information, and inform each other, to create innovative living spaces, without a feeling of detachment or being alienated.\\ |
| | - Another thing I found is that hybrid structures can get us further, so for instance to come to a mix of inflatable and tensile structures like Airlight's Tensairity bridges: see [[The Non Categorized Inflatables]] |
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| I see roughly three highlights in the visual Living Inflatable overview. | |
| -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-oering 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, created constructions with a strong physical and mental influence for the human creature.These inflatables can be seen as devices that greatly encourages public interaction and proved to be very popular. The bouncy mattress is a left over from that time. | |
| Also the structures of Architects of Air derive from that period wit similar constructions as Colourspace and Dreamspace from AGIS. These constructions are 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. Another interesting thing is that the Architects of Air still design and make their pattrens by hand. Haus-Rucker-Cp were concerned with the possiblity of achieving a higher state of consiousness by means of a concentrated spatial experience.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 bBrble and Sky Ear project,and Thoughts Go By Air, from Machine Cent'red Humanz; they are all evolving project are 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 it would be interesting to create inflatable spaces on the same base: so co-developed in a physical and virtral environment, allowing the two to constantly exchange relevant information, and inform each other, | |
| to create mindblowing spaces, without a feeling of detachment or being alienated. | |
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