Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
Next revision		 Previous revision
inflatable_spaces [2014-09-24 01:20] – [Spaces measuring the physical body as a co-structure in its inflated surrounding] cockyinflatable_spaces [2020-06-05 22:28] (current) – old revision restored (2017-07-06 13:01) nik
Line 57: Line 57:
  
  
-{{009_002.jpg?750}}\\Corpocinema 1967, Theo Botschuiver, Jeffrey Shaw, Sean Wellesley-Miller and Tjebbe van Tijen.\\+{{009_002.jpg?750}}\\ 
 +Corpocinema 1967, Theo Botschuiver, Jeffrey Shaw, Sean Wellesley-Miller and Tjebbe van Tijen.\\
 The Corpocinema was an expanded cinema environment presented in a series of open-air performances in Rotterdam and Amsterdam in 1967. The work dematerialised the opaque flat projection surface of traditional cinema by creating instead a transparent three-dimensional volume within which the cinematic image could be reconstituted in an equivocal and immediate way. The specific physical and temporal qualities of the various actions and events performed to materialise the projected images also caused dramatic transformations and re-constructions of those images. The Corpocinema was an expanded cinema environment presented in a series of open-air performances in Rotterdam and Amsterdam in 1967. The work dematerialised the opaque flat projection surface of traditional cinema by creating instead a transparent three-dimensional volume within which the cinematic image could be reconstituted in an equivocal and immediate way. The specific physical and temporal qualities of the various actions and events performed to materialise the projected images also caused dramatic transformations and re-constructions of those images.
 The basic structure was a large air-inflated transparent PVC dome onto which film and slides were projected from the outside. These projections were made visible by physical events and performed actions that created temporary conditionsthat materialised the projected imagery within and on the surface of the dome. For example, white polythene tubing was inflated until it filled the interior of the dome, thus creating a complex, growing surface on which the image appeared - then the dome was deflated over this tubing. Fire-extinguishing foam was sprayed over the entire inner surface of the dome, building up an opaque white projection surface - and as the foam dripped off the dome, the projected image disintegrated. Various other substances such as smoke, steam, water spray and confetti were used to fill the interior space of the dome and so constitute a volume of particles on which the projected images were attenuated.\\ The basic structure was a large air-inflated transparent PVC dome onto which film and slides were projected from the outside. These projections were made visible by physical events and performed actions that created temporary conditionsthat materialised the projected imagery within and on the surface of the dome. For example, white polythene tubing was inflated until it filled the interior of the dome, thus creating a complex, growing surface on which the image appeared - then the dome was deflated over this tubing. Fire-extinguishing foam was sprayed over the entire inner surface of the dome, building up an opaque white projection surface - and as the foam dripped off the dome, the projected image disintegrated. Various other substances such as smoke, steam, water spray and confetti were used to fill the interior space of the dome and so constitute a volume of particles on which the projected images were attenuated.\\
Line 63: Line 64:
 \\ \\
  
 +{{:aa2401f021ac31eaa6e9d12717919b2a.jpg?315}}{{:big_infl_.jpg?300}}\\
 +Ant Farm. "50' x 50' Pillow" Point Reyes, California 1970\\
 +\\
  
  
Line 76: Line 80:
 \\ \\
 Pink Summer: Tomas Saraceno,  2004\\ Pink Summer: Tomas Saraceno,  2004\\
-In fact same system as the Space Auditorium from above: the airpressure from the inflated space is made strong enough to carry some audience.+In fact Saraceno uesed the same system as the Space Auditorium from above: the airpressure from the inflated space is "strong" enough to carry an audience. 
 +This work is somehow in a sketchy fase, in the meantime his work evolved in way more elaborate outcomes.
 more on tomas saeaceno amongst his flying gardens: http://www.pinksummer.com more on tomas saeaceno amongst his flying gardens: http://www.pinksummer.com
 \\ \\
-\\ 
- 
- 
- 
  
 {{balloon33.jpg?500}}\\ {{balloon33.jpg?500}}\\
Line 88: Line 89:
 Architects of Air, Alan Parkinson, Arcazaar, IJmuiden, NL, 2001 topview & interior\\ Architects of Air, Alan Parkinson, Arcazaar, IJmuiden, NL, 2001 topview & interior\\
 \\ \\
- 
- 
- 
  
  
Line 96: Line 94:
 Copywright antartica ballooning 2002 Seth White;dome_with_mt._discovery_and_lenticular_clouds.jpg\\ Copywright antartica ballooning 2002 Seth White;dome_with_mt._discovery_and_lenticular_clouds.jpg\\
 \\ \\
- 
- 
- 
- 
- 
- 
- 
  
 {{11.GIF?350}}{{:800px-benesse_house07s3200.jpg?342}}\\ {{11.GIF?350}}{{:800px-benesse_house07s3200.jpg?342}}\\
Line 114: Line 105:
 "One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I realized it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs straining my ankle." "One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I realized it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs straining my ankle."
 Today she lives, by choice, in a mental hospital in Tokyo, where she has continued to produce work since the mid-1970s.\\ Today she lives, by choice, in a mental hospital in Tokyo, where she has continued to produce work since the mid-1970s.\\
-source: www.yayoi-kusama.jp/e/information/index.html source via http://en.wikipedia.org 663highland+sources: www.yayoi-kusama.jp/e/information/index.html,  http://en.wikipedia.org/wiki/Yayoi_Kusama,  <https://artsy.net/artist/yayoi-kusama> 
  
  
 \\ \\
-\\ +{{:hemmertbild01.jpg?450}}  {{pablo_reinoso_la-parole-1.jpg?425}}\\
-\\ +
- +
- +
- +
- +
- +
-{{:hemmertbild01.jpg?250}}  {{pablo_reinoso_la-parole-1.jpg?425}}\\+
 -»Samstag Nachmittag, zuhause in Neukölln«: Hans Hemmert 1995, Vacuum space\\ -»Samstag Nachmittag, zuhause in Neukölln«: Hans Hemmert 1995, Vacuum space\\
 Latex/Luft/Künstler/Wohnraum, Dialeuchtkasten, 43 x 62 cm\\ Latex/Luft/Künstler/Wohnraum, Dialeuchtkasten, 43 x 62 cm\\
Line 132: Line 116:
 Spectators can introduced their heads into a suspend inflated volume. Inside speech is autonomous, separated from the body. It separates the viewers head from their bodies and focuses their attention on their mind.\\ Spectators can introduced their heads into a suspend inflated volume. Inside speech is autonomous, separated from the body. It separates the viewers head from their bodies and focuses their attention on their mind.\\
  
-{{Room5.jpg?500}} +{{Room5.jpg?500}} {{detail_ceiling2.jpg?500}}\\
-{{detail_ceiling2.jpg?500}}\\+
 The Inside Out Inflatable Room by [[Ana Rewakowicz]], 2005\\ The Inside Out Inflatable Room by [[Ana Rewakowicz]], 2005\\
 The Inside Out Inflatable Room installation is an inflatable room made from rubber latex, which she constructed to explore the concepts of public/private and exterior/interior and to think about how the concept of a "room" is an extension of the human body. The Inside Out Inflatable Room installation is an inflatable room made from rubber latex, which she constructed to explore the concepts of public/private and exterior/interior and to think about how the concept of a "room" is an extension of the human body.
Line 141: Line 124:
 \\ \\
  
-{{white_space_peter_.jpg?460}}{{:big_infl_.jpg?300}}\\ +{{:marken_1.jpg?500}}{{white_space_peter_.jpg?500}}\\ 
-{{wdw.jpg?720}} +Striped by  Cocky Eek, Marken Island 2010,  
-Space 02: Cocky Eek 2006 +
-Foam Lab, Witte de With festival Rotterdam, 2006\\ +
-\\+
 \\ \\
  
-{{sanyovillarosa_2.jpg?460}}\\+ 
 +{{sanyovillarosa_2.jpg?500}}\\
 Villa Rosa: Coop Himmelblau, 1968\\ Villa Rosa: Coop Himmelblau, 1968\\
 The large inflated sphere is a relaxation chamber andthe space leading into it can be transformed via the inflation and deflation of the surrounding balloons.\\ The large inflated sphere is a relaxation chamber andthe space leading into it can be transformed via the inflation and deflation of the surrounding balloons.\\
 \\ \\
- 
- 
- 
-{{Magna_img_2.jpg?470}}{{magna.jpg?200}}\\ 
-Magna Science Adventure Centre, Copyright © 2001-2005 ITEK-USA, Inc.  itek-usa.com/projects/\\ 
-The Education Centre/Packed Lunch Area is intended to accommodate large groups of school children who would be encouraged to learn about topics related to the themes of the Science Centre. It also serves an as area where they can eat and drink.The structures built for Magna are twin-walled, that is, the walls are made up of two layers of fabric with an air gap in between. It is the air between the two layers that is pressurised to provide rigidity for the structure. This means that conventional doors can be used to enter and exit the buildings as the air inside the building no longer requires pressurisation. In addition, the volume of air inside the walls is very small compared with the size of the building and so very little power is required to keep that air pressurised.\\ 
-\\ 
- 
- 
-{{289.jpg?245}} 
-{{26lrg_1.jpg?350}}\\ 
-Cloud: Monica Forster, inflatable room designed c.1995, Swedish, nylon, electric inflation\\ 
-\\ 
-\\ 
- 
- 
- 
- 
-{{index.jpg|index.jpg}} 
-{{DSC05229.jpg?450}}\\ 
-Alexis Rochas: The AEROMADS project outlines an architectural system that combines air pressure and high-strength intelligent fabrics as a tectonic solution for the creation of minimal mass, self-sustaining structures. Unplugged and detached from source networks, AEROMADS is a discreet architectural unit that utilizes air pressure as a tectonic resource and building material, and sets out to explore the nomadic applications of groundless architectonics. 
-The exterior is sheathed in nylon rib-coated with aluminized Mylar to reflect light and provide thermal insulation. For energy needs, the Aeromads has embedded photovoltaic, flexible batteries and solar water heating.\\ 
-source: http://www.sciarc.edu/aeromads/\\ 
 \\ \\
  
Line 182: Line 141:
  
  
-{{:anish-kapoor-grand-palais-monumenta-2011_28.jpg?600|}} +{{:anish-kapoor-grand-palais-monumenta-2011_28.jpg?500|}} 
-{{:anish-kapoor-grand-palais-monumenta-2011_33.jpg?600|}} +{{:anish-kapoor-grand-palais-monumenta-2011_33.jpg?500|}} 
-{{:anish-kapoor-grand-palais-monumenta-2011_3.jpg?350|{{:anish-kapoor-grand-palais-monumenta-2011_33.jpg?200|}} +{{:anish_img.jpg?500|}}\\
-{{:anish_img.jpg?600|}}\\+
 Anish Kapoor: Leviathan, Monumenta 2011, Grand Palais,Paris\\ Anish Kapoor: Leviathan, Monumenta 2011, Grand Palais,Paris\\
 Passing into a darkened entrance hall, you are ushered, not to say bundled, through a doorway into an immense, red womb-like space, lit through its membrane-like surface which looks soft, almost velvet-like, but is rubbery and barely yields to the touch. Gaping orifices open out into three more pod-like spaces. Far from standing in the exhibition hall looking at an object, you’re in the object itself, with no sense of the surrounding environment – until the sun comes out projecting the web-like patterns of the Grand Palais’s roof over the rounded surfaces.  Passing into a darkened entrance hall, you are ushered, not to say bundled, through a doorway into an immense, red womb-like space, lit through its membrane-like surface which looks soft, almost velvet-like, but is rubbery and barely yields to the touch. Gaping orifices open out into three more pod-like spaces. Far from standing in the exhibition hall looking at an object, you’re in the object itself, with no sense of the surrounding environment – until the sun comes out projecting the web-like patterns of the Grand Palais’s roof over the rounded surfaces. 
 Moving through the arches formed by the immense rounded rubber feet you feel truly tiny, the people on the far side of the hall appearing positively antlike. Yet far from feeling oppressive, this immense mass glows where the light hits it, reflecting the leaping at nouveau arches overhead. Whichever way you look or move you’re hit by some extraordinary new vista. The juxtaposition of the two structures is exhilarating in its sheer unlikeliness: the Grand Palais, epitome of the self-consciously man-made, and Kapoor’s rubber mass, which for all its organic, bodily qualities is no less synthetic. Moving through the arches formed by the immense rounded rubber feet you feel truly tiny, the people on the far side of the hall appearing positively antlike. Yet far from feeling oppressive, this immense mass glows where the light hits it, reflecting the leaping at nouveau arches overhead. Whichever way you look or move you’re hit by some extraordinary new vista. The juxtaposition of the two structures is exhilarating in its sheer unlikeliness: the Grand Palais, epitome of the self-consciously man-made, and Kapoor’s rubber mass, which for all its organic, bodily qualities is no less synthetic.
 While Kapoor has stated that the work’s title. ‘Leviathan’, the piece is a play of structure and scale that alludes to the idea of the cathedral: the body as living, breathing sacred space, inside a structure that is literally cathedral-like.\\ While Kapoor has stated that the work’s title. ‘Leviathan’, the piece is a play of structure and scale that alludes to the idea of the cathedral: the body as living, breathing sacred space, inside a structure that is literally cathedral-like.\\
-source: [[http://www.telegraph.co.uk/culture/art/art-reviews/8506594/Anish-Kapoor-Leviathan-Monumenta-2011-Grand-PalaisParis-review.html]] +source: [[http://www.telegraph.co.uk/culture/art/art-reviews/8506594/Anish-Kapoor-Leviathan-Monumenta-2011-Grand-PalaisParis-review.html]] \\ 
  
 **more inflatable image sections:** **more inflatable image sections:**
Line 205: Line 164:
 [[The Non Categorized Inflatables]],  [[The Non Categorized Inflatables]], 
 [[Lighter than Air]],  [[Lighter than Air]], 
-[[NASA Inflatables]], +[[NASA Inflatables]], 
 +[[Leftover Inflatable Archive]], 
 **or go back to:** [[Cocky Eek]] **or go back to:** [[Cocky Eek]]
  
  • inflatable_spaces.1411521651.txt.gz
  • Last modified: 2014-09-24 01:20
  • by cocky