PNEUMATIC WORLD THEATER
by
Lees Ruoff-Siler
Certificate of Fine Art
Cooper School of Art
Cleveland, Ohio
1974
SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE
DEGREE
MASTER OF SCIENCE IN VISUAL STUDIES AT THE
MASSACHUSETTS INSTITUTE OF TECHNOLOGY
JUNE,
1987
c Lees Ruoff-Siler
1987
The author hereby grants to M.I.T.
permission to reproduce to distribute publicly copies
of this thesis document in whole or in part
Sjqnature of the author
- - es Ruoff-Siler
Department of Architecture
May_ 15 )987
V ((W-V-
Certifiled-by .. . .. . .. . .
--- - - -- - -
Otto Piene
Director of the Center for Ad anced Visual Studies
Thesis Supervisor
Departmental
Committee
MASSACHUSETS INSiTrj.T
OF TECHNOLOGY
JUN 0 8 1987
LBRA.-ES
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ii
PNEUMATIC WORLD THEATER
by
Lees Ruoff-Siler
to the Department of Architecture on May 15, 1987
Submitted
in partial fulfillment of the requirements for the Degree of
Master
of
Science
in
Visual Studies
ABSTRACT
My thesis
is divided into
two parts.
I discuss the symbolic architecture
In the
first part
of temples and churches
of Asia, the Middle East, Africa and European fantasy
architecture that have influenced my artwork and have served
as design sources for my inflatable sculpture/building,
entitled "Pneumatic World Theater". In addition, I investigate
the philosophical and conceptual foundation of my sculpture,
making reference to ancient Greek philosophy.
In the second part, I highlight the history of pneumatic art
and architecture after which I present the working drawings and
pneumatic model for my sculpture/buiding. I also describe the
structural elements and materials I use in its fabrication.
Once completed, the work of art/architecture will
temporarily
be
installed and documented in various environments
(deserts, forests, and cities).
Thesis Supervisor:
Otto Piene
Title: Director of the Center for Advanced Visual Studies
iii
ACKNOWLEDGEMENTS
I want to express my gratitude to Otto Piene for his
guidance over the years. He continues to be a great source of
inspiration. Otto was the first to introduce me to the world of
inflatable art and architecture. I feel my artistic direction
took a dramatic turn when I began to explore this medium in
which I could integrate my diverse interests in painting,
drawing, and sculpture.
Also, I want to thank my special friend and husband, Todd
Siler, whose unlimited support, patience, and guidance has
helped me mature as an artist and human being.
I am, of course, especially grateful for the fine
assistance my sister, Kim Lyon, has provided in sharing her
extensive knowledge of the history of art and architecture.
To my family, many thanks.
Iv
TABLE OF CONTENTS
TITLE PAGE....................................................i
ABSTRACT....................................................
ii
INTRODUCTION..................................................1
I. THE CONCEPT AND PHILOSOPHY OF THE PNEUMATIC WORLD THEATER..6
A. Ancient Greek Philosophy as Source for the Concept of the
Pneumatic World Theater....................................7
THE DESIGN SOURCE OF THE PNEUMATIC WORLD THEATER..........13
II.
A.
III.
Religious Structures And Expressionist Sources..........19
A DESIGN SCHEME FOR THE PNEUMATIC WORLD THEATER.. .......
A.
An Overview
B.
Models
39
of the History of Pneumatics................40
And Working Drawings..................... .......
52
BIBLIOGRAPHY.................................................61
1
INTRODUCTION
... out of all things there comes a unity,
and out of a unity all things." - Heraclitus
6th. Century B.C.
INTRODUCTION
My
interest
in the
symbolic architecture of
stems from my childhood. Growing up
churches
opportunity to
arch ite cture
Wat
of the world -
Buddha) in Bangko k;
t emples
style
Mosque
the
in
of Djenne
in particular, the Temple
in
Sagrada Familia
these structures
(Temple
in
Mali;
of Angkor
of the Emerald
in Agra, the north Indian
Khajuraho and Orissa
Rome;
in
India;
the Hagia Sophia
the Great
in Istanbul, Turkey;
Sainte Chapelle
inspired
have
the
me
over the years,
stimulating
is both philosophically and
formally eclectic, encompassing a wide
and artistic traditions. Like the
which
and the
mean ing of sculptural architecture.
Pneumatic World Theate r
Theater -
in Paris;
i n Barcelona. The symbolism and allegory in
explore
to further
The
the Taj Mahal
range
of philosophies
form of the Pneumatic World
is amorphic yet structured, abstract yet
representational -
the
ideas represented
in
it are
as diverse
and contradictory as Eastern and Western philosophies.
Briefly,
the
concept which spirits my sculpture/building
multifaceted. On one
level,
it
I
of the great religious
of the R ock in Jerusa lem; the Parthenon in Athens;
Dom e
Saint P eter's
me
some
visit
Cambodia; the Wat Phra Keo
in
in Asia, Africa,
(and later returning as an adult),
the Middle East and Europe
had the
temples and
involves creating an
is
sculpture which has both an
architectural
that the viewer can contemplate
dimension such
the
artwork while
This experience
"inner
into the
with with the
another
about
experiencing the
inside
to parallel
is meant
world" (2)
and vise
the Pneumatic World Theater presents
particular, they recall
rather,
my
in
and of human-nature relationships. I
of
trying to re-invent the
16th. century Persia or any other
I want to present my
concept of humankind reflected
interpretation of the
in the
microcosm and
(3)
three
idea which ties together each of the
source
materials
for the design of the Pneumatic World Theater
notion of
"sacred geometry" which relates the
(anatomical) aspects of human beings to
crystals, the
geometry
celestial
stars, and other natural
(such as
the
is the
structural
those of plants,
objects. The
sacred
golden section, harmonic ratios, and
movements to name a few)
religious structures
and
ideas
ideas seem to resonate
the outset that I am not
religious architecture
macrocosm.
journey
the ancient Greek concepts of
micro-macrocosm, of time,
at
versa.(1)
- a journey which begins and ends
insights of the Presocratic philosophers;
must state
outside of
intangible elements of human perception. On
level,
with the
One
the
one's own personal
"dynamic complementarity". These
period;
interior and exterior
(4)
instills a sense
universal relationships. As
used
in designing these
of proportion, harmony
I demonstate
in Chapter II,
4
I apply the canons of sacred geometry as a source
design of
the
surface patterns.
In discussing the salient
the
for the
features of my design scheme
Pneumatic World Theater, I will
German architect Bruno Taut and
contributed to the Crystal
consider the
for
work of the
the artists and architects
Chain Letters
(5),
who
together with the
Spanish architect Antonio Gaudi, all of whom used sacred
geometry in their work.
As a prefatory note,
Group adopted the Nietzschean model of
search for knowledge".
united and this union
itself.(6)
In this model,
is reflected
the
Chrystal
Chain
"architecture for the
the body and soul
in the architectural
are
form
5
INTRODUCTION FOOTNOTES
1. This thought is reminiscent of Wassily Kandinsky's notion:
"A work of art consists of two elements, the inner and the
outer. The inner is the emotion in the soul of the artist;
this emotion has the capacity to evoke a similar emotion in
In
the observer."From Kandinsky's (Concerning TheSgir itual
Art. New York: George Wittenborn, Inc., 1912, p.23)
2.
In journeying into the 'inner world', I recommend that one
Inward
follow the path and road map of Paul Klee. Read lT_
Vision. 2nd ed. (Translated from the German by
New York: Harry N. Abrams, 1959.
N. Guterman).
3. Read Chapter 12.in S. Sambursky's ThePhysical World of the
of The Greeks. (Translated from the Hebrew by M. Dagut.)
London: Routledge & Kegan Paul, 1963. Also, read G.S. Kirk
and J.E. Raven, The Presocratic Philosophers. Cambridge:
Cambridge University Press, 1957.
4. See Chapter 1. "The Principles of Sacred Geometry" in N.
Pennick's Sacred Geome try. A richly illustrated and
informative book worth perusing is R. Lawlor's Sacred
Geometry: Philosophy and practice. New York: Crossroad,
1982.
5.
Other important members of the group included: the German
architect, Walter Gropius; the Czechoslovakian artist,
Wenzel Hablik; the German architect, Wilhelm Bruckmann; the
German architect Wassili Luckhardt; the German artist,
Hermann Finsterlin,
among others.
6. One idea which exemplifies the objectives of the Crystal
Chain may be found in the Nietzsche quotation in Die
frohliche Wissensohaft:
Architecture for the search for knowledge. - We wish to see
ourselves translated
into stones and plants,
we want to take
walks in ourselves when we stroll around these buildings and
gardens.
6
CHAPTER I.
THE CONCEPT AND PHILOSOPHY OF THE PNEUMATIC WORLD THEATER
"The unity of things lies beneath the surface;
it depends
upon a balanced reaction between
opposites." - Heraclitus
7
Theater
To me,
interpretation of
my
is
creations
of humankind (from
realities
of the
"present".
the
"time-space" and
experiences and
of the
'present' includes all
time
Pneumatic World
most curious aspect of the
Perhaps the
our earliest evolution to the
viewed without chronological
future)
order or
and social context.
historical
LP ze /, -C,1
In
my
vision of
(e .g.
forces, energies) simultaneously converge and
structures,
diverge
pairs of opposites
'the present',
this
represent
I
in endless motion and stillness.
symbolically by using contras ting-complementary shapes and
colors
in
formal
the
elements
of my sculpture/building.
"moving stillnes s"
My notion of
recalls
#neither
towards'.
The Stoics
imagined
the
concept
movement
of the
present
the
concept,
Stoic continuum. According to this
thought to oscillate between
the
is
from nor
continuum, like
the
present,
to flow with and by means of complementary forces which were
(rather than
originally conceived of as be ing contradictory
complementary)
concepts of
in nature.
The Stoic continuum
"tonike kenesis"
tonos"
(tension of pneuma),
soul).
(1)
tension
of
Inherent
life
-
in all
a tension
is
(tensional motion),
and
"pneuma" (vital
these concepts
which
is
is
created
founded on the
"pneumatikos
spirit
or
th is essential
by
the dynamic
8
complementarity of pairs
of opposites.
The Pneumatic
World Theater embodies these concepts, symbolically
representing this essential tension or
interlocking symbols
arity' by the
I
'dynamic complement-
intend to examine
philosophy on my use of
some of the
influences of ancient Greek
'pairs of opposites',
as expressed
in
my art/architecture work. I will focus on one intellectual and
namely,
inspiration
of
source
spiritual
in Presocratic philosophy my readers and viewers shall
the work of Heraclitus. As
see,
the presence of this universal
felt
in the substrate of my work.
the
thinker may literally be
incorporate
I mean I actually
extant writings of Heraclitus and other aphoristic passages
of Presocratic philosophy on the
Theater.
illuminate for me
pertinent questions concerning the nature and
life and death, of thinking,
loving, and so
measuring stick
forth.
feeling, acting,
I regard their wisdom as a kind of crude
with which our contemporary views of
the
dynamics of the world may be measured. For me,
still resonates with modern thought on the
Presocratic thought
subject of -
my vision of the
towards ancient Greek philosophy to help
world. I look
fundamental
the Pneumatic World
Simply, their thoughts express
(2)
meaning of
walls of
in Paul
The Heraclitian
Klee's words -
"the nature of
fragments from the book On Nature,
present below, are
critical
for understanding the
workings and drama of my Pneumatic World Theater.
nature"
(4)
(3).
which
conceptual
I
9
It seems appropriate
the
that
I share with my readers some of
surviving fragments of Presocratic thought which I find
engaging. My presentation of the actual
purposes:
first,
it allows you
fragments
this material
to examine
directly without having to decipher my own
secondly,
it
allows me
to cite these
confusion) when discussing their
following fragments are
serves two
interpretations; and
fragments
(without
influence on my thinking. The
inscribed on the walls
Pneumatic World Theater as philosophical
of the
material
for
contemplation.
Heraclitus
(H).
Fragment
(Fr).
5.
They (humankind) vainly purify themselves from blood staining
themselves with blood, as if one who had stepped into mud were
to cleanse themselves with mud.
H.
Fr.
10.
Things taken together are whole and not whole, something being
brought together and brought apart, something which is in tune
and out of tune; out of all things there comes a unity, and out
of a unity all things.
H.
Fr.
12.
Upon those that step into the same rivers, different and
different waters flow... it scatters and... gathers... it comes
together.
H.
Fr.
18.
If one does not expect the unexpected one will not find out,
since it is not to be searched out, and difficult to compass.
10
H. Fr.
30.
This world-order did none of gods or men bring-forth, but was
always and is and shall be, an ever-living fire, kindling in
measures, and going out in measures.
H.
Fr.
41.
One thing is alone wise, to know the thought through which all
things are steered through all things.
H. Fr. 54.
An unapparent connection
is stronger than an apparent one.
H. Fr. 80.
It is necessary to know that war is common, and justice is
strife, and that things come about by strife and necessity.
H.
The
Fr. 84.
soul remains by changing.
H. Fr. 88.
And as the same there is in us living and dead, and waking and
sleeping, and young and old: for these having changed round
those, and those having changed round are these.
H.
Fr.
89.
The world is one and therefore common to those who are awake;
but each one who is asleep turns to a world all his own.
The
waking share
an order one and common...
This order - the measuring out of all things and the holding of
them in harmonius tension - is itself the great harmony: At
each connecting point of the wood and the string in the
instruments, there is a fitting-together that is at once a
pulling-away: a dynamic equilibrium.
11
H.
Fr.
123.
constitution of things
The real
Fr.
(E).
Empedocles
to hide
is accustomed
itself.
17.
Things never cease from continual shifting, at one time all
coming together, through Love, into one, at another time each
born apart from the others through Strife.
Fr.
(M).
Melissus
2.
(Reality) it always was and always will be, without either
beginning or end, but infinite. For if it had come into being,
it would have a beginning and an end; but since it neither
began nor ended; for it is not possible for anything to exist
exists.
for ever unless it all
M.
Fr.
4.
is either eternal or
Nothing that has a beginning and an end
infinite.
Parmenides
(Par).
Fr. 8.
thought
What can be
is only the
thought that
is.
(Py).
Pythagoras
Life is like a festival; just as some come to the festival to
compete, some to ply their trade, but the best pe ople come as
for fame or
spectators, so in life the slavish men go hunt ing
gain, the philosopher for the truth.
The
explore
fragments
in
thoughts
(process)
the
in
above
listed
Pneumatic World
terms
of
the
transformation;
interlocking
the
represent
Theater.
following six
I
have
themes:
2) convergence
(or changeable) realities;
range
of
themes
grouped
1)
my
change
and divergence;
4) oneness
(and
3)
I
12
paradox (or contradiction);
sameness of beginning/end) 5)
I have also organized the
unity. For purposes of clarity,
fit at
of Heraclitian fragments to
least one or two
6)
lines
six
of the
themes.
This
thematic content reflects my general
philosophy as
intimated by the architecture of the Pneumatic World Theater.
the beginning and end;
ending",
nature
the relativity of
"time";
the
of knowledge;
living
timeless
the silence
the boundlessness of change;
and
the beauty of humility and the
noise of stillness and motion;
beast
"beginning and
and the meaninglessness of eternity;
of
'sameness' of
'oneness' and
speaks about the
Collectively, it
increasing light. These are some
increasing darkness,
world of
in the
issues I explore. My work
speaks retroactively to the ancients -
partly to question their
knowledge
of nature and partly to question my own pursuit of
knowledge
in light of their discoveries.
The Pneumatic World Theater
inform
us
that the
linked to the
war
unmoveable
terror of life
is common, and justice
is
meant to
forewarn and
order of nature
is
inextricably
(Or, as Heraclitus had said,
is strife"
Fr.
80.).
It presents a
view of contemporary human life as being clearly confused;
is,
in one
while
moment,
in the
that
we're clear about what we know and possess,
next moment,
troubling state
"that
we're painfully confused.
of existence
is analogous to an
driver who nervously drives his
This
inexperienced
or her mind with one
foot on
13
the
accelerator and the other on
to his/her mind and body.
causing serious damage
stems
fact that we want
from the
bodies
the brake simultaneously
to "go
The confusion
forward" (with our
creations) but we are constantly
and our physical
uncertain about where and what we are moving
towards, or what
'forward' means. This uncertainty yields only angst and strife.
Through the Pneumatic World Theater, I want my viewers to
idea that thoughts and feelings can
indeed move
experience
the
beyond the
limitations of our bodies, while conceding that our
in place by the
fixed
actions remain
is precisely because we attach all
to the surface,
importance to the physical,
to what-can-only-be-seen, that finally we
see
numb to the possibility of
that we become
Even worse,
nothing.
It
forces of gravity.(5)
the mind and spirit existing independently of the body.
spiritual center
complementary
seemingly
in whi ch one
Like bein g
is
calm and
and
the
both the
moments
complementarity.
stillness
are
forward while
kind of
transient,
is directed to see
the
for ms and sources of philosophical
perspectives.
experience
a
work o n our psyches. It brings together
forces at
disparate
relatively
is
Theate r
The Pneumatic World
in
th e
secure -
ten s ional
when
eye
combined
is when,
a hurricane
inside my sculpture
-
where all
one can
motion between pairs of opposites
'o pposite s'
That
of
overcome
their
for example,
motion and
in a single action. Something moves
moving backwards
simultaneously. Recall T.S.
14
future
"The
words,
Eliot's
stops and time
watch/ When time
fitting-together that
(Four
is never ending"
and Heraclitus' statement,
Quartets),
morning
the
before
futureless,
is a
"there
is at once a pulling apart: a dynamic
this
equilibrium" (Fr.89). The Pneumatic World Theater shows
"two-wave system' of life and death, day and night, humility
etcetera.
and arrogance,
I have
In addition to the ancient "writings on the walls",
life,
included my own poetic statement-pictures of
you the reader and
seemingly
are,
logical
"participator"
instructed to
is
follow a
"arrive where you
sequence of steps only to
to where you are not"
to get
Inside
like an axiomatic proof, where
statements read
nature. These
reality,
(T.S. Eliot, East Coker).
the Pneumatic World Theater, the participator
to another only
directed to go from one part of the structure
to discover that the movements, parts, or places are
and contradictory.
domain of
logic
is not an
issue.
that certain feelings -
explore
is
or hate
- go
be terrifying
letting go
and the
my sculpture moves
logic and logical propositions
feelings where
of
In this sense,
beyond rational
because
sense.
idea I wish
Empathy, for
of one's self-conscious mind -
totally exposed
to Reality. (In
integrated
this
from the
to
such as empathy, love
instant,
in the act
when the
(6)
one
can
instance,
in the process of "feeling",
observed are completely
illogical
domain of pure
to the
The
is
observer
a person
feels
is
the
15
fragility of one's own
of unfiltered feeling,
this moment
observed,
life and the
or
imminence of death.)
In
the observer and the
'subject and object'(12),
merge
as part of the
oneness of everything.
I communicate this notion of "oneness" by using the spiral
like forms which line the
Theater.
are
living
By these
inner walls of the Pneumatic World
forms I mean to suggest that we
in a turbulent vortex of
life -
(humankind)
where things are
forever 'coming-to-be and passing away' simultaneously,
coalescing and splitting without reason or care.
CHAPTER I. FOOTNOTES
1.
2.
The word "pneuma" dates back to Anaximenes of Miletus who
probably used it to explain how the earth "rides on air" or
why it "floats in space". I say 'probably' because this
thought was not expressly stated in the written records. The
Stoics, on the other hand, used this word to describe the
melding of fire and air, where the process of heat was seen
as the common denominator so to speak of these two elements
and their activities. I do not care to elucidate on lexical
meanings of the heat process. What fasinates me is the
evolution of this idea of 'heat'. The process of heat
functioned as a nexus through which the properties of fire,
air, earth, and water share a likeness. Sambursky (1963)
reminds us that 'the phenomenon of organic growth and
biological development were regarded as inseparable from
thermic processes'. This fact, we are told, was established
or known since the Presocratic era. Sambursky punctuates his
remarks with a quote from Poseidonius: "All things capable
of nurture and growth contain within them a supply of heat,
without which their nurture and growth could not be
possible; for everything of a hot, fiery nature supplies its
own source of motion and activity; but that which is
nourished and grows processes a definite and uniform
motion."
In my sculpture/building, I interpret the pneuma as the
ethereal light which moves in and out of the sculpture
freely - flowing with rythmic activity like that of the
human organism.
I have borrowed the idea of wall writing or "mannered
graffiti" from the 17th-Century English philosopher and
designer, Robert Fludd. This Renaissance thinker used
philosophical and symbolic words on the walls of his
Elizabethan stage sets, to convey his views of man as the
microcosmic model of the macrocosm. Fludd published two
books, entitled Macrocosm (1618) and Microcosm (1619), which
present his views on "memory theater". This 'theater' used
figures
biblical
certain
various mneumonic devices to recall
Fludd's influence on Shakespearean theatre was
and stories.
significant, as it is generally conceded that the famous
Globe Theatre was built after his "memory theater" design.
type of
The most ancient description of the use of this
was described in the
memory system, or mneumotecnic,
anonymous rhetorical textbook, the AD HERENNIUM, used by
orators such as Cicero to memorize his speaches. Another
version was used extensively in the Middle Ages and
Renaissance in the design of cathedrals.
17
3. See Paul Klee's The Nature of Nature. (Translated by H.
Norden and edited by J. Spiller.) New York: G. Wittenborn,
1973.
4.
In the first discourse, entitled 'On the Universe', of the
book On Nature, Heraclitus expounds on the importance of
understanding the Logos - the unifying principle of all
things, "the structural plan of things both individual and
in sum...co-extensive with the primary cosmic constituent,
fire." Both the psychological implications and details of
the Logos are explored in my Pneumatic World Theater.
5.
This realization, that the mind moves while the body is
still, is comparable to the Stoic's vision of "tonike
kinesis" - "the co-existance of motion and rest in the same
single system" (Sambursky, 1963, p.139). In his book, The
Ehysical World of The Greeks (1963), Sambursky elucidates
the origin of the Stoic's concept of "tensional motion". The
Stoics started from their theory about the two-fold motion
of sense perseption from the center of a human being's soul
to their eyes or ears and back again, via contact with the
object outside him. This picture calls to mind a physical
phenomena which undoubtebly known to the Stoics, namely the
expansion of a wave in a confined environment such as a pool
or tub. Here the waves expand in concentric circles around
the stone thrown into the water, until they are thrown back
from the sides of the tub or pool; thereupon, the returning
waves interfere with those expanding outwards from the
center. This interference results in what is called in
scientific language a "standing wave" or a "standing
This kind of vibration is typical of any
vibration".
confined body, such as a vibrating musical string or bell...
For this vibration they coined the special term "tonike
kinesis" (tensional motion)" (p.139).
6. Read A.H. Maslow's article,
Known".
7.
"Isomorphism, the Knower and the
feeling the subject and object are
As Eliot informs us, "In
Everything, from one point of view, is subjective;
one...
and everything, from another point of view, is objective;
and there is no absolute point of view from which a decision
may be pronounced. Hence any history of the process must be
of the object
it must be a history
true:
only relatively
the subject, or a history of the subject
side, postulating
side, postulating the object side. For feeling, in which the
two are one, has no history. In time, there are the two
sides, subject and object, neither of which is really
stable, independent, the measure of the other." (From T.S.
Eliot's Knowledge and Experience, 1964, p.22)
18
CHAPTER II
DESIGN SOURCE FOR THE PNEUMATIC WORLD THEATER
"An unapparent connection is stronger that an apparent one...
The real constitute of things is accustomed to hide itself."
Heraclitus
19
In
I
chapter
this
that
and expressive architecture
information
I
Theater.
I have de signed the
Pneumatic World
chosen
these arc hitectural
forms
symbolism, structural
Concerning the
words of an ancient
yesterday or
the
melting pot
same
tomorrow and comple ted
in which past and
simultaneously
in
everything
today!
As
is created
kind of
to be a
time-present
view,
every
timeless
this
in
mentioned
I
in the
fu ture civilizations exist
instance. According to this
idea exists
"history" of
"everything always already
Indian adage ,
previous chapter, I consider
my
Implying,in the
'history'.
to add some notion of time,
Or,
this material:
order of
interpreted the
though there was no
of which can
buildings.
sculptural
non-chronologi cal
discover that I have
architecture as
for their
design and ornamentation all
into air-supported
be translated
existed".
comprise my palette of
from which
have
reader will
of religious
images
the following
present
thing and
"pot'
every
of the
present.
My
impulse
to compare
different artistic traditions
search for a common sensibility,
to
representation
another.
I
to
juxtapose
obvious physical and psychical characteristics
different architectures and symbolic forms.
reveal
my design decisions
Pneumatic
World
Theater.
of aesthetic
tying one mode
intend
towards
is to
of
the
most
these
In this way
I
the construction of the
20
No description of
underlying source of
inspiration -
In juxtaposing Figures
nature.
in
Islamic
would be complete without mentioning at
architecture
immediately sees the
as
the geometrical patterns
namely, the
least
symmetries of
one
1 and 2 with Figures 3-6,
organic order and unity of all
the
one
things
intimated by the mathematical tesselations of traditional
I use the word
Islamic patterns.
'organic' to suggest that
these non-naturalistic or purely geometrical
their roots of abstraction
in Figures
organisms shown
in such things as
1 and 2. What
way of design from both these
patterns
is their repetitive,
forms
patterns have
the
living
I have borrowed in
the
in Protozoology and Islamic
mirror symmetry. These
naturalistic and non-naturalistic forms seem to reflect a
energy and lifeforce.
fundamental
In the spirit of traditional
idea of mirror symmetry to
I have applied this
Islamic thought,
the conceptualization and construction of my Pneumatic World
Theater.
of Ulu Cami
In the dome
above
("omphalos")
with two
-
At
or below.
celestial-like
appear to
the center of
to
spread out and
material
(i),
this swirling mass of
is the Muslem meditational
resonating with cosmic energy.
interlocking triangles pointing
suggests
moire-like
flowing arms of a galaxy seen from directly
the
like
(Fig.3) the
from brick and tile,
patterns, made
spiral
Mosque
me
some sort of balance
symbol
This symbol
in opposite
between oposite
-
directions
Figure I
Actinoma
arcadophorum after Haeckel.
Figure 2
Dictyocha stapedia, HkI. (From Grell, K.L..
Berlin.
,2
Springer-Verlag)
Figs. I and 2
Protozoological organisms showing a similarity in growth
patterns with Islamic geometries. (From Thompson, 0., Q2
Growth and For. Cambrige: Cambridge University Press, 1961)
Figures
3-6
Hexagonal design from which many symmetrical patterns can be
through kaleidascopic mirror reflections of the
oinal
design. (From Doshi, S.,Ib-Rla.2.A2.
Bombay: Marg Publication. 1982)
Agenraited
*
AMore hexagonal patterns (also from
Bourgoini. Their fundamental region is
indicated. The systematic derivation of
the subdivision of the fundamental region
is shown in the accompanying triangles
where the heavy line indicates the
minimum module for the generation of
their respective Islamic patterns.
n
9 Fundamental regions of increasing
frequencies, and their breakdown, for
hexagonal symmetry.
The 'frequency' here, is the number of
times the vertical edge of the triangle is
divided.
C, Vie systemtatic breakdown of
the fundamental region of
0.
hexagonal symmetry
(frequency 9) and its coding.
All centres of symmetry and
edges within this region can be
colour coded with three primary
colours. Analogous breakdown
for triangular and square
symmetry can be obtained.
V. Seven types of subdivisions of
hexagonal symmetry
(frequency 3). The central
figure corresponds to (figure 7)
from which the other 6 can be
derived by removal of edges.
e
\
\
0.
X
\
explore
I
tendencies.
this symbolic
the
of the
in one
interpretations of
three ceilings of
of the
mosque
in
this
one
momen t
are
is
The
mercurial;
its grand
in the next moment,
teased by an array
illusions
of pleasing perceptual
that recall
frequently
i nlayed tile
you gras p
while
your eyes
Fig.9).
(see
find myself
is the Shaykh Lutfullah Mosque
a desi gn source
Isfahan, I ran
intricacy
images I
compelling
o f the most
turning t 0 as
Figure 7
Cress section of redwood root that bears an astonaShing
(From
31 ii1rty to the pattornatien of the Uim Cami Kosqoe.
are Is a Straeur for Deslan.
Pearce, P., SCatrur lA
197)
Ca-ridge: H.I.T. Pre.
the
illusory star1ight
the
of
con-
Pleiades
stellation.
The
geometrical
pat-
terns on
the dome
indirectly
the
interact
show
ions
of microcosm and
macrocosm,
where
%
small and
the
World Thea ter.
Pneumatic
scheme,
impl ications of
form, by querying my viewers'
a similar design of mine
One
psychological
large
-t
?FIsereSI
aguei&
st~
Nalatya. Turkey. Bellt
io 1247 by
patterns
:ir:i
*;g sugest a sges
prpose.
_setic iFree Sagrr-Ths.
S..
Washington D.C.:
111Rt&CU1tAu.
Eail
Ilya. The s
al ad
.Wor In
in
~L,
~
-4
A
r~j~
Figure
9
MasjId-i-Shaykh Lutfullah In Isfahan, Iran, Interior dome.
Built by Shah Abbas I, between 1601 and 1618. The Architect
was Ride ibo UIstad Husasyn. This dome is one of the best
examples of Inlayed tile in existance In wich the geometrical
patterns reflect a scaled up microcosm. (From Seherr-Thess,
S..
11a-A
-Lar-I
I
-C
l
Washington
D.C.: Smithsonian Press, 1968)
2
^-4
tesselated
getically
I
forms
intermingle.
as particles and
light.
waves
Shimmering
patterns of wave
forms
the sky
stretch across
mosque with the
of the
and brightness
intensity
of
forms
these
interpre t
of
ener-
the
sun at
desert
high noon.
In
another
association -
visual
less cosmic but
perhaps,
equally compelling -
of smaller
colony
flowers
single
one
ceiling pattern
sees the
as a
Figure IOA
Borobudur Stupa and Temple. Borbudur. Java. Built in the 9th.
Century. top view plan. (From Nuttgens, P., Ih
Qci.
abgliggiet. New York; Excali bur Books, 1980)
a
comprising
sunflower.
Lloyd Wright,
Frank
in writing about his
concept
of
the
Guggen-
heim Museum which he
designed
likened
t
in
the
1943,
Museum
once
to
ocean waves rising and
Figure 1OB
Sagrada Fa-illa in Barcelona.
Spain. Begun by the architect
Antonio audi. Interlor view of the bell tower. (From Mower,
D.,
Qm4.
.ondon: Universal Books, 1977)
25
719cr* ii
Saorada Vanilla In Diarcelesa.Spain. Front facade *I the
SS. thin ws the last
I .1othe batiwity. 90,144 ",
Parta
creation 0 f the architect ".1tast Caui an rebains
ant!inisid to thls day. (from Maor, D., Qjjidj.London:
lIn cr al Books. 1977)
falling, never breaking':
"All
lines flow,
the
in uninterrupted
plastic
into
blending
one
movement,
he said.
the other",
is
"The whole building
its parts as
one with
each part
the
I
is one with
whole."(2)
read
I
words
these
think of
Whenever
the visual
echoes- Antonio Gaudi
created
in his Sagrada
Familia
(Fig.10) -
with
its concentric circles
of stone
in the bell
tower of
the church.
Looking up at
one
the
tower,
feels a rush of
energy
and emotion as
though one's
been pulled
soul
has
from the
"being"
center
of one's
to the
"being" of the
larger world
(and back
It
P~gur
Temple In 3m..svaram. India. the great corridor.
ao.swa
ni.iha. Now
1th. Costury. (Pro* Sivarsasmrti. C.. The At o
1977)
York: Kerry M. Ar....
In
again).
corridors of
matic
use
of
one
the
Pneu-
my
World Theater
I
a similar visual
meditational
and
device
receding concentric
cles -
ii26
-
cir-
for directing the
viewers'
The
concentration.
of'
aesthetics
concentricity
are
used
towards
religious
ends
in
design
the
ascending,
terraces
of
the
circular
and
square
galleries of the Borobudur Stupa (see Fig.11).
primeval
this
energy that explodes from the concentric scheme
temple;
spiritual
an energy that
force
that
imbues the
is at once
World Theater create the
uplifting,
effect of one
is not physically moving) through a
carrying this primeval,
if not,
in my Pneumatic
moving (even
if one
light saturated conduit
universal energy which
or Logos and part material. This design
whole
of
viewer with a rare
enlightening. The tapering spiral corridors
attention
There's almost a
inward, while experiencing the
is
is part
spirit
meant to focus one's
outer world with one's
sensorium. Viewers are psychically charged as
they pass
-. ' -,
Figure 13
Chaitya (Hall of Worship), cave #26
tArL i 1d
Slvaramasurtt, C.,
Abrams, 1977)
at Ajanta, India. (From
New York: Harry N.
hallways of nature,
through the tunnels -
tunnels of life,
pathways of reality -
which are lined with rib-shaped pillars.
(Note the design of The Great Corridor of the
Temple
[Fig.12]
chaitya, Cave
people,
the
and the hallway of the Buddhist rock-cut
26
in Ajanta
the figurative
viewers
Like an arborway of
[Fig.131.)
pillars are animated by the
walking through one of the
Pneumatic World Theater. If the
corridors
like the
reflections
in a
experience
the
inertia.
space can also be
of observing one's
infinite
triptych mirror (turned to 90 degree angles).
Each reflection searches each reflection of
of the
this silence and
The drama of walking through this spiritual
disturbing,
movement of
viewer stands motionless and
the pillars reflect
perfectly silent,
out
Ramesvaram
viewer's
self-consciousness
own reflection
ensuing.
-
searching
with extreme
for a way
28
tigere 14
west portal. Swilt by
70 In& Cathedral isNolas. Fran.
In
1, (Pros Jata. H.. High Gothic
Sornard do Sios
Prss, 1957)
ovratty
*rneo
Prls om:
At the end of each of
corridors
the
three
the
Pneumatic
World
passes
one
Theater,
of
window-like
through
doorways
(or doorway-
windows) which are
like
as layered and textured
as
symbols
with
the
entrance to
Cathedral
Re ims
(F ig.14) and
the windows of the
Taj
(See
(Fig. 15).
Mahal
the
also the sym bolic ceiling
and
of
windows
Shaykh Abd
Mausoleum of
al-Samad
al -Isfahani
These
[Fig.16a].)
refer to the
the
form.
structure
the
symbols
functions of
Although one
functions as a
church and the
other as a
monument, both celebrate
eternal
life
whether
expressed through public
15
Figue
Tao Mahel Is Avra, lndio.,iow of the central doeo from a
the
A samaoloe bou t6for Noet*abel
:
inaret wdwl
mfavorite
StierlIa. L..
wite .f S o ahJban in 165 .Free
I
Figure 16A
Maasoleen of Shyth Abd al-Samad al-Isfahan tn Natant. Iran.
bell: In 1307. shifting light adds depth to the dim recesses
of the modeled ceiling. (From Seherr-Thoem, S.,
gten and
Corl
Islamic Architecture. Washington D.C.: Saithsonian
Press. 1968)
Figure iGs
Camera-Lacida drawings of soap bubble cells from Matzk's
emperitants showing the predominance of five sided cells.
(From Pearce. P.,
r
t.12.*-3
EILta
1-1LJ
Cambridge: M.I.T. Press, 1970)
Qtlla.
Figure 16C
Recticulou Plasuatique. a protozoological organism. Is made
qp of protoplasm. often floating in large colonies ohich like
Cambridge.
see foas. CFrom Thompson. D..
Cambridge University Press. 1961)
a
30
ceremony
prayer.
the
private
or
The design of
Pneumatic
World
Theater explores these
double-functions
ritual
(the
in church and the
monument)
integrated
in a
form
single,
(3):
one
multi-domical room with
three curved, radiating
corridors.
the
I only wish
interior of the dome
had the
-
Ca
th dra1 In Chartres France, vie
built
1;0 (ZO
Iros
atteo. A.. Uah Goi
Princeton, University Press. 1257)
of the chair.
. Princeton:
Gothic, spacious-
ness of Chartres
(Fig.17)!
Iiar
Hsashas Temple Is Sobs.. China,.view throogh the sees gate
Into a Taoist garden. (From Uettgena, P..
Wol'
ra
&hUislAM. wTork: Excal iber Books. IfSO
ILI
heal Id-I*Jass Is Slsas. Iran, view of the enltry Into the
cloister. BvIlt to 1342 by Muohammad ibo 41 CuzaYn Of
Demehan. the carved stucco mruts a laCellte filigbe.
(Fros
Schorr-Thess. S..*~gMoo
..Ian~nan
Isic
aly1jrcszjce.r
Washington D.C.: Smithsonian Press. 196S)
Fig.re to
Tema Tower in Kharraqas. Iran. north facade. Light aad shadw
highten the raised brick patterns making the design nore
noticeable. <Fro Soherr-Thoess, S.. PS Lgand..SLlar
LaaSi.A cr" ectgr..
D.C.: Smitheoiaa Pes..
Washingten
--
---
bS>
)
The entry ways and
windows
in my
building are
sculpture
metaphoric-
ally suggestive
things:
of many
infinite
regres-
sions-progressions
microscopic-telescopic
views,
and other paired
relationships. Depending
on
their
they
construction,
have
an
either
FIgures 21A and 213
inorganic
qual ity
organic
or
to them
Masjid-i-Jami
like the
(Fig.18)
and the Hansham
Temple
(Fig.19) respectively.
Either they
are
dense
with abstract, geometrical
patterns that
the
form around
walls of my pneumatic
sculpture
or
they are
representational
figurative
of an eye
passes
the
like
and
the pupil
through which
1ight
of our
The white
Masjid--Jami a Isfahan. Iran. Iaterior daes.
mortar betw*ee the black brick& brings nut the abserest
D2Le
Ad.lor in.'AA
patterns. (rea seherr-Thoss. S.,
iLt=r. WashingtonmD.C.: Saithsoaian Press, 19
l
9)
imagination. Regardless of
their
form -
whether they're
irregular and cellular, or mathematically derived and
-
tesselated
entry ways and windows prepare
these
one
the
fabric weaves or tapestries, the
World Theater bear some resemblance to
(Fig.20) and the Masjid-i-Jami
Mosque,
Jami
brick,
it moves from
mind as
the Tomb Tower
those of
(Fig.21a&b). In the design of
similar play of
light and shadow on the brick animates
I achieve a
like the cosmos.
light and structure by overlapping octagonal-
shaped transparent and translucent materials and
materials with various colored lights.
technique
in detail
Other design
in Chapter
lamps)
scheme
I
in
have
the
pillars
between
are
covered
with stem
22b),
suggesting
like
include
Pneumatic World Theater
these
the
"genesis" and
structures as
viewer
forms that
In my design
(Fig.22a).
Temple
Mahakala
which
(I discuss this
(studded with hundreds of ceremonial
incorporated
or
illuminating
III.)
sources for the
the conical-shaped columns
oil
in the
thereby creating the octagonal-pointed star
star pattern which glows
these
the Pneumatic
walls of
white mortar contrasts with the black
the
ceiling. The changing
the
Namely,
same.
to another.
space
Like
the
the
is
meaning and effect
their
enters.
resemble
"growth".
arch-ways
The
pillars
seedlings
(Fig.
*1
q
a
4
Kabakala Temple In Ujaim. India. These two giant candlesticks
are cover with hundrods of coremoaial
which are lit
dring the sacred might of
(From Now, J.L.. L
gInua. Now York:
1982)
Siva.
Vilo Inc..
olilaaps
34
Hindu
cnhis
Tat e p AnkorA CaWbodia. built
the 12ti. Ccntory.
Teplief
t
Vishnu and royal sacsalrov Inldeps an
rtlihf carving around the
calli the
pl Inner
temple'sesdepicting th, conqust of the founder king and
oinds
theelfevo
eadn
Perhaps
the
most
colonades,
moats, and
concep
ofhloy
life
of
temple's
concept
the
fin t
inspirational
Hindu Temple Ankgor Wat
the
Allan
o
(Fig.
23),
elaborate
growth'
-.
king.
architectural
of 'gnomonic
The
growth'
source of
with
relief
carvings
tha
ismthe&o
(gnooni
is
-
o
design
its courtyards,
organizing
layout
heasage
the
that
"Gnomonic expansion in nature
the design of
courtyards
applied
of
all
principle
of the
'gnomon'(4) and the
is,
and moats
the gnomon
1982,
'growth upon growth' Hindu
to
temples.
Although
for the Pneumatic
its
conceptual
inner
the
incremental
of
makes visible patterns of
successive stages of growth" (Lawlor,
of evolution -
the
depicting
increenta
expansion of forms and substances revealing the passage
time.
is
p.71). This notion
is carried
I
World
haven't
throughout
designed
Theater,
and physical
I
have
framework.
35
the Brihadisvara Temple
organization of
The general
24a) exemplifies this evolutionary process, where
suffering no alternation
build upon one another -
they grow'.
magnitude when
in
a distance,
f or
m
a
and tapered
form
s
aCrossroads.
The bead of a shoot of pearl grass demonstrates
goemic*growth pattern similarities with the Blaier
""w Yor:
k-LUl
..
Lwlor.
':rom
Tempta.
1962)
shoot-of-pearl
grass
From
be as unified
to
in its braided
a s
(5)
pyramidal-shaped
the
temple appears
the tiers and
ture seem to allegorically
layers of symbolic sculp-
save
(Fig.
A
(Fig.24b).
Bribnlhadara Temple I& Tanjere, India.Wit is the IIth.
Costs"g by Rajaea. a Chaim taperer. This strsotur* Is
Z*Olt. Is helIghtwith as ermsatal aremon top made of
seli
grate weighng S0 tens. (From
L.,
Art LfJIda. Harry K. Abreas, 1,77)
slwarasamort.
h
h
36
temple
one
the
inspection,
closer
Upon
takes on another form,
diverse
with
teeming
-~
and
sculptures
figurative
surfaces.
textural
-I
The
influence of Near
Eastern and South Asian Art
\C
design concepts on European
expressionist,
fantasy archiCabide
no where
is
tecture
apparent
o
..
~
Prs.
i
-~
MS),
more
than on The Crystal
*-2r
Wrlds - The Great Nothingness
-The
Naele&&.
by
Chain's conceptualizations of
futuristic buildings (see
Fig.25).
For example, Bruno
Taut's design
poetically
for one building,
titled
"Stars-Worlds
Death-The-Great NothingnessThe Nameless",
resembles the
gnomonic form of a traditional
Indian temple
from which
it
was derived.
One design
feature which
distinguishes this group's
philosophy and practice
use
of automatic,
action-oriented
is
the
impulsive,
design
schemes.
Figure 26
Do** Project by Wenzel HablIk In 1921. Interior view of a
900ft. diameter multi-leveled city in a dome. (From Whyte, I.
B.. I
Cambridge: M..T. Press, 1985)
ruC26.nJtuA.
37
"action architecture"
This
is
manifested
in the
chaotic and
interior of the Dome Project (Fig.26) -
cacophonous
with
its
jagged, vaulted ceilings and columns of discordant dimensions
projecting a kind of
spiritual energy.
their philosophy and spirit was never
Unfortunately,
concrete and paint, because
steel,
into stone,
'visible',
their
realization of
ideas was anithetical
convictions and goals. However, I
injected some of this group's
have
in creating the
sensibility
parts of the
interior
Pneumatic World Theater,
while borrowing from another spirited
designer of
"action architecture"
-
namely, Simon Rodia and his singular
work,
The
The Watts Towers (Fig.27).
(6)
upward spiralling forms of twisted-
steel
and broken tile
esque structure
imagination
sends
in this Gaudianthe viewer's
into a head spin! The
sensation of self-discovery shortly
follows,
as one
glimpses the
of art and nature at
expressive
effect
is
work
forces
in this
form. Achieving this
the reward of my
on . Dt
e.xpl orat
ora i
exp
io
:.1321
Calfornia. 3dm by Simon
Los Angel. -In
3150. (Fro. Eltfers, Jost EJAIftIJI
Now±t~zt
Y.
orit:Harry X. Abrams. 1360)
an
-
odia
-
translated
the physical
to their aesthetic
38
CHAPTER II FOOTNOTES
1. The Greek term "omphalos" denotes the imaginary axial po int
at the center of the world. It was believed to be the
transition point between heaven and earth.
2.
This quote
is taken
from Olgivanna Lloyd Wright's book,
FrankLloXd_ Wright: His Life, His Work, His Words. New
York Horizon Press, 1966, p.165.
3.
In Jerusalem, at the temple of the Holy Sepulcher, many
at the same
different religious ceremonies are conducted all
time.
4.
As Lawlor (1982, p.66) indicates, 'the gnomonic mandala
the floor plan is also used as the guiding element for
designing the elevation of a Hindu temple.'
5.
I'm quoting Aristotle and his interpretation of gnomonic
expansion (in Robert Lawlor's Sacred Geometry, 1982, p.65).
of
6. Compare the "visual kinetics" of Rodia's tower sculpture/
building and Tatlin's design for the Monument to the Third
International (1919-1920) This work reflects the concerns
and aspirations of another expressive work of art and
architecture - Ferdinand Cheval's "Palais Ideal" in
Cheval, a retired postman, built
Hauterive, France (1912).
a monument and tomb to himself. It's little wonder how
Cheval was inspirational to the French Surrealists. His
palace was composed of strange guardian beings, animals, and
plants amidst a jungle of jumbled iconography carved on the
walls. To many this monument is an exemplar of undisciplined
eclectisism.
39
CHAPTER III.
A DESIGN SCHEME FOR THE PNEUMATIC WORLD THEATER
"This order - the measuring out of all
things and the holding
of them in harmonius tension - is
itself
the great harmony:
ther is a fitting
together that is at
once a pulling
away: a
Heraclitus
dynamic equilibrium."
40
the design of the
Before discussing
Theater, it
Pneumatic World
is important to highlight the history of pneumatics
out of which my sculpture/building has emerged. In this
overview,
I will concentrate on contemporary uses of pneumatic
structures directed towards environmental arts, experimental
architecture,
scientific experiments and
presentation serves three purposes:
to discover the diverse
structures,
perspective
my
first,
it allows the reader
applications of air supported
providing as well
information on the
some technical
medium;
of this
unique properties
industry. This
secondly,
own work w ith pneumatics
over
it
places
nine
last
the
Ideas and
years; and thirdly, it br idges the gap between the
the reality
fantasy underlining the P neumatic World Theater and
of building the structure as
opposed to more
Historically,
can be
Egypt
tradit ional
than
the
five thousand years ago.(1)
in the
next
form
Related
scale
figurative
to sails and balloons were
parachutes
to design their
concepts of which were put forth
da Vinci
The
in
such as those which may have been used by
pre-Incan Nazca people
earthworks.(2)
carts used
in the evolution of pneumatics was
of hot-air balloons
and air
media and materials.
the sailboats and land sail
traced back to
stage or phase
fabric
in vention of air supported structures
the
and China more
medium of
using the
in
and Fausto Veranzio.(3)
in
large
the
1500's by Leonardo
In more recent
times,
the
41
creation of the Montgolfier Brothers' hot-air 41 balloons
(1783) and Meusnier's design for hydrogen-filled, dirigible
airships lead to the modern era of air-supported art and
architecture. The first earthbound pneumatic structure was
invented
in 1917 by the English engineer, Frederick Lanchester.
His patented Inflatable building was
Intended to be used as a
temporary, army field hospital. Although
it was never built,
it
inspired many engineers to investigate this new area of
architecture.
By
1933, everything from inflatable tents, survival
equipment, and military decoys were developed revealing the
unlimited design possibilities of pneumatics. In 1946, another
pioneer of pneumatic architecture, Walter Bird, fabricated the
first
inflatable, earthbound structure - a radar atenna dome
(called "Radome") - which measured 15 meters
in diameter and
made of synthetic fiber. Within a few years, hundreds of these
installed in extreme climates such as the Arctic,
Radomes were
showing the
versatility
and durability of air supported
structures. By the early 60's, nearly fifty companies were
manufacturing moveable, temporary structures for a wide range
of applications,
entertainment
and the air
including:
facilities
indoor sports arenas and
(e.g.
the Boston Art Center Theater
inflated roof covering the
the New York World Fair);
'Brass
(USAEC)
Pavilion at
(e.g.
the United
portable
exhibition
exhibition halls
States Atomic Energy Commission
Rail'
42
storage,
the Birdair Corporation);
pavilion buil t by
factory,
and military buildings.
In
1962,
Frei
Otto, a major figure
pneumatics, published an
the
history of
important book entitled Zugb2anggrIghte
(Tensile Structures),
Korstruktionen
in
Vols.I&II.
in which he
for designing large scale
describes his analytical methods
pneumatic and tensile structures. Otto was
responsible
for the
conceptualization of many innovative works of architecture
and the Munich Olympic Park
[19671
(such as
the Montreal Expo
[19721).
Moreover he contributed substantially
engineers worldwide
contemplate
-
such things as
architectural
Otto,
influence artists, architects, and
imaginations of all who
opening the
"parsimonious design".
"aesthetic engineering" and
Although I cannot point
elements or tenets
I am nevertheless
and the
"Fuji
of pneumatics
include,
Yutaka Murata's design for a "Floating Theater"
Pavilion" at Expo'70
Fuller's designs
Frei
ingenuity and
schemes.
Other architectural developments
most notably:
out specific
I have borrowed from Frei
inspired by his
design
intellectually-grounded
research
tension structures. His works
and development of light-weight
and thinking continue to
to the
for air supported
Otto and Ewald
in the Arctic",
in Osaka, Japan;
"floating cities"
Buckminster
1967 (4);
Bubner's domical-shaped air supported
1970-71;
Tamero Oki & Associates mammoth,
plant-like "Mobile Roofs" at Expo'70, Osaka;
the mirrored,
"City
43
domical
shaped theater for the Pepsi
Pavilion, also at Expo'70,
designed by Billy Kluver's group Experiments
Technology
(E.A.T.)
(5);
and
in Art
Arthur Quarmby's ellipsoid,
"Helium
Lifted Canopy" for covering the Wembley Stadium in London,
1967;
Jose Prada's experimental
"Instant City"
and the
(1971)
"Solarium" - an air supported greenhouse that uses passive
solar technique
to control
inside environment
the
In the arts, there are considerably fewer
have mastered this medium -
creating poetic,
that combine art and technology
traditional
sensitive works
boundaries of sculpture or three-dimensional
important artist
is Otto
whose body of work presents a spectrum of abstract and
representational,
(opera),
work with lighting,
simple
[1972]
geometrical
and the
sophisticated sculptures
"Berlin Star"
former
[1984]
with
and
"Sea Anemones"
(e.g. the
the five
interior
its spacious
intricately modelled surfaces).
other media
projection
artists,
such as
systems,
forms
lasers,
(e.g.,
[1976])
the
"Olympic
to complex,
fifty spiralling cones of
headed
" Minotaur"
and
the
Each of these
later,
works
[1983]
with
the collaboration
-
its
integrate
photostrobes, and slide/film
involving
musicians, actors,
sound, theater
Piene's works range
celebration and performance art.
from seemingly
Rainbow"
including some
inflatable sculptures
brilliant experimental
the
individuals who
in ways that transcend the
constructions. The most prominent and
Piene
(1981).
of visual
engineers, and a host of other
44
contributors
representing a variety of artistic
discipl ines.
Perhaps the
impressive aspect of
is the fact
artworks
inflatable
most
and scientific
involve
that they
his
the
viewer
encouraging not only private contemplation but
directly,
(6);
participat ion
all sorts
the y are
of visual as sociations and emotions. For me,
'experienc ing'
Piene's sculptures
one of
is qualitatively
viewing the floats, airships, and
different from simply
figurative
which evoke
"experiential works"
inflatables used in major festivals and parades. The
illusiv e
inexplicab le differenc e, I think, has to do with the
characteri stics of his
mercurial as cloud
vanishing
sculptures.
masses which
They're as ethereal and
are momentarily
vis ible,
into the viewer's Imag ination without not ice.
The evocative feelings and aesthetics of Piene's
Inflatables are sharply contrasted by another type of air
supported sculpture -
one that explores the more
technological dimensions of pneumatics such as Christo's
"5600 Cubic Meter Package,
Germany
(1968).
experimental
of the artist
4, at Documenta
The only participatory aspect of this
sculpture
was
and engineers
This
particular work
part
"pneumatic towers"
of Christo's
Industries,
and the Ministry of Technology
free-standing,
on the
in designing and constructing the
earlier experiments of RAVEN
Birdair Structures',
involving
effort
the collaborative
85 meter high, colossal tube.
builds upon some
in Cassel, West
(1958),
in England
"air
45
supported
towers"
(1959),
Briefly,
respectively.(7)
artworks are Vera Simons'
of the
two
(1960)
pneumatic
"Floating Platform" (1977)
shape resembles
-
a large
the
stone
Parthenon - and the Eventstructure Research
Group's amorphic sculpture, entitled
Stedeliijk Museum,
in science
fine examples, among them:
Lift Balloons" developed for
and
industry, there are
RAVEN Industries'
p.38);
"Heavy
the physicist, Walter
"High-Altitude Weather Balloon" that
reached a record altitude of 150,000
feet
(using a
minimum
amount of helium) to perform various experiments on the
stratosphere
pneumatic
(8);
Switzerland
Building
used
(9);
site
Foster Associates'
for Computer Technology, Ltd.",
(10);
the
English
air supported warehouses (1970)
environments
(11
"inflatable
Channel
"air
in Anzere,
"Temporary Office
in Hemel
hovercraft vehicles,
for crossing
for the
Sarna-Hallen AG's
for a winter building
(1967)
England (1970)
was
Goodyear Aerospace's prototype
"STEM Lunar Shelter" (1967);
supported hangar"
Hempstead,
the first
(1969);
of which
Barracuda's
designed to withstand harsh
hoists"
for
lifting persons
or goods, designed by the Ministry of Technology, Research
Development Establishment
a
'heavyweight transport over
impassable terrain' (Herzog, 1976,
Lewin's 600 foot diameter,
"Cloud" (exhibited in the
1970).
in Amsterdam,
Concerning pneumatics
number of
masts"
other exemplary,
sculpture whose
scale architectural
fragments
and "inflatable
in England,
(1970);
and Jose Prada's
46
like
and having worked with Prada on
to comment
on one
feature
namely, the controllable
"pitch-and-catch"
As a co-inventor of
for package handling.
technique
shute,
shute which utilized a
air
industrial
this project,
valve systems
for regulating air flow
which I find particularly
interesting. We designed the air shute, a
that
rate of an object's descent can be
the
inside
varying the pressure
incorporated a variation of
"Inflatable
entitled the
wall
double
is made
the
two walls,
light to dark.
attention
nine-year
The
mine,
which
outer layer of
inner wall
inflating and deflating the
dramatically from
In the Pneumatic World Theater, similar
point,
to lighting details on both
I
would like
of qualifying
my knowledge
anchoring the
theoretical
imagination.
the
interior and
structure.
"experiment" with this
informed
in a work of
(1985-86),
and valve system.
and fabricator. I introduce
of
technique
interior lighting can change
is given
this
manipulated by
is made of opaque material and the
exterior surfaces of the
At
this
transparent material. By
of
together, so
the two pillows. I have
Light Tunnel"
of a double wall
consists
the
tubular structure
vertical pillows that press
inflatable,
I would
of this pneumatic device -
and pressure-related dynamics -
with two
the air
to
say something about
medium as
my
both a designer
this background material
of pneumatics and, more
aspects of my project
as a means
importantly,
in the domain
47
includes
My experience with pneumatics
testing the
different structural and functional dynamics of urethane
coated, polyester
(such as polyamide fabric nylon)
balloon and aerospace
several
as other synthetic materials
fabrics as well
used
(12)
industries.
in the hot-air
In addition,
I have spent
years researching new high strength, lightweight,
laminated materials (such as fiberglass, reinforced silicone
fabric). One result of this research and experimentation
is that
I have gained some
necessary
for
material s
(e.g
insights
into
the design criteria
choosing everything from appropriate
.plastic films, coated fabrics,
m embrane
woven
metallic
fabrics) t 0 jo inting methods (e.g. sewing, heat seal ing,
dielectri
and ultrasonic welding, adhesives, etc.).
now know
based on direct observation -
are
best
s uited
for the
Also, I
what kinds of fabrics
types of pneuma tic structures
I want to
create. M y design decisions are determi ned in part by the
scientifi C information available on the strength-weight ratio
and flexi b ility of synthetic fabrics un der the
different environmental conditions. For
of flame-retardant vinyl are very soft
when cold;
constraints
material
will
this
fatique.
consistency,
when warm and very stiff
light
under design
precision,
I have also learned h ow certain
react to different
of
certain kinds
example,
inconsistency can be di sastrous
which require
influence
and minimal
materials
sources (natural and artificial).
So me elastomer coated fabrics, for
instance non-ultraviolet
48
treated fabric,
others
seem to
However, the
will
fade quickly
remain color
fast
in direct sunlight while
for a
long period
ultraviolet treated materials are
time.
not fire-proof
and thus cannot be used in public spaces. Somewhere
the
of
in between
safety regulations and the designer's aesthetic guidelines
the work of art struggles to evolve to Its full potential.
This technical
information is by no means trivial. When
you consider the expense of the materials, construction time,
and related details,
one's design criteria
designer needs to know many technical
is
critical.
The
things, even before
applying their sense of aesthetics. Details like the output of
industrial air blowers and other
inflation devices, anchoring
techniques, and accesses can "make or break" an
sculpture. Simply:
if a blower is not powerful enough,
inflation
is not possible;
structure
is not properly anchored or tethered,
if
inflatable
if an earthbound, pneumatic
it will
tear;
the entrances and exits are not carefully engineered,
deflation will
one of these
occur due to air
areas
loss. A
miscalculation
in any
leads to a potentially serious design flaw.
In constructing the Pneumatic World Theater, I applied all
information
in one way or another.
this
49
The "pneumatikos tonos" (tension of "pneuma",
of the Pneumatic World Theater.
In presenting my drawings and models of the
I ask
World Theater,
you
Pneumatic
two previous
on the
to reflect
vital spirit)
the
in which I discussed my concept, philosophy, and
chapters
As I will now show,
design sources.
sculpture/building are a wide
Integrated
In my
forms
variety of architectural
and geometric patterns that reflect a millennium or more of
human thought and creation. I have
ancient Greek notions of: change; motion;
thematic content of my work
The
well
itself
physical
to the medium of
interconnectedness;
the existence
of art and architecture
fabric
-
and air
of each other.
of gravity.
In
the
Massive
lightweight
Pneumatic
are able to enter the artwork
-
aesthetics
sensation.
the
exploring my
inner and outer
The
is
In
one which
pictorial
simple.
It consists
In
interact temporarily supporting
structures
expand effortlessly to sizes which seem to defy the
influences
two
intrinsicly transformative.
elements which are
this medium, material and air
of
these
complementarity; and unity.
identity;
lends
incorporate
in my artwork which explores the
forms and patterns
disparate
tried to
lies
adverse
World Theater
viewers
to experience another dimension
in
ephemeral
world of pure
one
sculpture/building,
discovers
world of symbols and surface,.
vocabulary
of
spirals,
for
the
Prieumatic
circles,
World Theater
and other standard
50
elements of variational
geometry.
Spiralling
lines sweep across
the walls of the conical-shaped corridors like wind driven rope
caught
in the vortex of a tornado. This sweeping, driving
in which
motion mimicks the collective action of nature
centrifugal and centripetal forces merge to form a single
force; the flowing lines painted on the fabric symbolize this
state of mergence and oneness.
Concerning the
interplay of color, light, and sound in my
sculpture/building: at the entrance of each of the three
corridors, window-like doorways fill the spaces with different
concentrations of colored light. The translucent fabrics which
make up these
natural
structures seem to glow as
if charged by a rare,
inside, the
light source. Viewed from the
"hard" blue
fabric evokes a feeling of tempered aggression. This feeling
is
complemented by the "soft" blue fabric which elicits a peaceful
state of mind. As the
intensity of the
feelings intensify or wane.
comprising the dome -
light varies, these
By contrast, the
vibrant red fabric
the heart of my structure
-
pusates with
seemingly endless energy. As one experiences these sunlit
spaces during
the day,
one's sensorium
virtually every kind of stimuli.
environment
is
felt
in
is
saturated with
The presence
a direct way.
At night,
of the
outer
the effects and
feelings change dramaticly.
Some ritual-oriented and participatory activities can be
carried
out
in
and around the Pneumatic World Theater.
As one
1i
might expect,
the
factors
time-space-light
I
aspects of
the
of the artwork alone,
aspects
philosophical
the sculpture/building; another that directs
attention towards the
viewers'
only the
viewer to contemplate
metaphysical
inviting
the
and spiritual
and
meditation;
informal
viewer pondering the purely physical and
a third that has the
aspects of this work of art/architecture. There
sensual
one
of activities:
types
paragraph. Presently, I envision three
that requires
the previous
in
mentioned
influenced by
be
each activity or program will
many other engaging exercises that can be explored
experimental artforum, any one of which may
are
in this
involve new media
technology and presentations.
There
in various environments
Pneumatic World Theater
the responses of
installing the
for
are also numerous possibilities
using film and video.
the participants
imagine that each location would yield different
impressions, consequently changing the
the artwork.
would
In setting up the sculpture
of the
of the
motion
(between
the
environment)
space
be
warrant
less
(sensory)
in a desert, one
the emptiness and
to the
fullness and visual
Pneumatic World Theater. This natural
pneumatic
would be
energe tic landsc ape
would
in contrast
structure
the
"tension"
surround1ing
less noticeable or rather subdued
of a
apparent.
and
forest.
That
is,
The differences,
further exploration.
I would
viewer's perception of
immediately become more conscious of
stillness
and recording
the
in
visual
both
in
the
contrasts
cases,
52
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59
CHAPTER III.
FOOTNOTES
1. In Thomas Herzog's book, Pneumatic Structures: A Handbook of
Inflatable Architecture, New York: Oxford University Press,
1976, we learn that the sail cart was used some 4,000 years
ago when the Egyptian Pharoh, Amenemhet III, drove into the
desert "with shafts and sails" (p.32). The ancient Chinese
also applied this technique for moving carts across land
masses.
2. Some archeologists maintain that this method of flight
was the only means of visualizing the immense earthwork
figures. In 1975, the International Explorers Society
demonstrated how it may have possible for Nazca people to
have built their own hot-air balloon to help direct the
creation of their earthworks; the members of the Exporers
Society - together with RAVEN Industries, a leading
pneumatic structures company - constructed a tetrahedralshaped hot-air balloon, using the same kind of fabric,
pattern, and shape as the Nazca Indians probably used. The
balloon was capable of lifting two men to the height of
1,700 feet. (From Dick Warth and Jerry Young's book,
Ballooning, New York: Random House, 1980, pp.118,119.).
3. Aside from conceptualizing the parachute, Leonardo created
the first "pneumatic environment" constructed from inflated
pigs' bladders. Read W. Sharp, Air Art. New York: Kineticism
Press, 1968, p. 7
4. See Bucky Fuller's article, "The Fifty Year Experiment" in
Buckminster Fuller: An Autobiographical Monologue/Scenario,
New York: St Martin's Press, 1980, p. 2 0 3 .
Cf. Michael Schuyt's Fantastic Architecture, New York:
Harry N. Abrams, 1980, p.104; note: "Buckminster Fuller,
Floating Geodesic Spheres".
5.
For further reading on Kluver's Experiments in Art and
Technology (E.A.T.) Productions, look at Billy Kluver's
(ed.), Pavilion: Experiments in Art & Technology, New York:
E.P. Dutton, 1972 (p.32) and Charles Jencks' book,
Architecture Today, New York: Harry N. Abrams, 1982, p.278.
Note: the Pepsi Cola Pavilion was constructed with a
unique vacuum device that uses negative pressure instead of
positive pressure for inflating pneumatic structures. The
technique involves using an outer rigid shell and a very
light-weight balloon (made of metallized plastic) for the
inner shell. The air is then vacuumed out between the two
layers thus creating a negative pressure. This dynamic
tension creates a perfectly smooth, evenly taut inner sphere
with a highly reflective surface. What is especially novel
about this technique is that no air-lock doorway system is
required to maintain the tautness of the structure .
60
6. In most of Otto Piene's "Sky Art" performances, the audience
becomes directly involved in the production of the work in
an almost spontaneous way. This involvement has a rather
magical effect on the audience/participators in that they
are actively contributing to the performance itself (as
opposed to being passive observers). One of the more
rewarding ways to see the work is by participating.
For an autobiographical account of the artistic vision
behind these works, I suggest you read Otto Piene's
More Sky, Cambridge, MA: The MIT Press,
7.
1973.
For an in-depth look at pneumatics in art, architecture,
and industry, read Thomas Herzog's Pneumatic Structures: A
Handbook of Inflatable Architecture, New York: Oxford
University Press,
1976.
8.
The extraordinary thing about Lewin's "High-Altitude Balloon"
is that the pneumatic structure leaves the ground with only
a mere 80 feet of its top section filled with helium - just
enough to lift it. As the pneumatic climbs over a period of
two and a half hours - rising at 1,000 feet per minute - it
gradually expands to a buldging 600 foot diameter. This
large scale weather balloon was fabricated by Winzen
Industries.
9.
See Thomas Herzog's, Pneumatic Structures,
Oxford University Press, 1976, p.125
New York:
10.
Ibid.,
11.
See Roger Dent's, Princigle _of Pneumatic Architecture, New
York:
12.
p.124
John Wiley & Sons,
1972, pp.60, 61.
Pneumatic structures are usually constructed from synthetic
fabrics, and most of the fabrics are coated (on either one
or both sides) with vinyl, neoprene, or other plasticized
elastomers.
For a complete list of the types of synthetic materials
used in the fabrication of pneumatics, read Roger Dent's
Principlesof Pneumatic Architecture, New York: John
Wiley & Sons, 1972, pp.94-99.
61
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