The following is an extract from Bubbletecture: Inflatable Architecture and Design, by Sharon Francis, published by Phaidon
Bouncy castles and pool floats might be the populist face of blow-up objects, but the world of inflatables is far richer.
Innovative, revolutionary and often avant-garde, inflatable structures are, by their very nature, an expression of advancement — a reimagining of traditional forms. Influential in aviation for more than two centuries, this deceptively simple technology has been at the forefront of architectural movements in recent decades, enabling cutting-edge artistic practice and symbolizing technological utopianism.
Today, “bubbletecture” can be seen in structures as transient as the Big Air Package — an art installation that, for moments, was the largest self-supporting inflatable envelope in the world — and as enduring as the domes of Britain’s Eden Project. With ground-breaking new materials and techniques, blow-up architecture could soon make the Moon or Mars our home.
The ‘biomes’ of the Eden Project, situated in Cornwall, in the southwest of England Credit: Hufton+Crow
The journey so far has been filled with radical experiments whose potential remains only partly fulfilled.
The first inflatable, the hot-air balloon, was invented in 18th-century Paris, then the cultural epicenter of “The Enlightenment.” French brothers Joseph-Michel and Jacques-Étienne Montgolfier created that first balloon in 1782 by burning straw and wool to heat air under a large, lightweight paper and fabric bag.
A year later, the first manned, untethered flight sailed over Paris for about 15 minutes. It would be more than 150 years — following the Zeppelin’s rise and dramatic fall in the Hindenburg disaster of 1937 — before the inflatable came down to Earth during the Second World War.
The birth of bubbletecture
On the battlefields of Europe, the US 23rd Headquarters Special Troops, known as the Ghost Army, staged more than 20 mass deceptions using inflatable tanks and powerful amplifiers to create the impression that the Allied forces were more powerful than they actually were.
Far away, equally ingenious inventions were unfolding, as the first basic inflatable structures were being created by American engineer Walter Bird.
Pneumapolis was part of the 10 Senses Festival in Valencia, Spain (2018) Credit: Courtesy of PlastiqueFantastique
Initially created for the US military, his “radomes” — structural, weatherproof enclosures — were used to protect radar antennae. In the years after the war, Bird developed inflatables including storage sheds, greenhouses and pool enclosures.
With the arrival of the sixties, cheap, mass-produced plastic became widely available and young, radical architecture groups embraced the creative potential of inflatable technology.
Using colourful, sausage-shaped party balloons, designer Seung Jin Yang wanted to ‘turn a simple making process based on personal childhood memories into an industrial fabrication furniture-making process’
Credit: Seungjin Yang
Tapping into a desire for instant personal space in an often busy, crowded world, Anna Maria Cornelia created the Life Dress. Credit: Anna Maria Cornelia
While simple inflated structures with a single membrane remain in the domain of temporary architecture, various double-walled membranes have become part of more permanent building systems.
Erected on Daliowa Island in the Odra river in Wrocław, Poland, this graceful pavilion is named NAWA, designed by Zieta Prozessdesign Studio Credit: Prozessdesign
Among these are panels made from ETFE (ethylene tetrafluoroethylene). A fluorine-based plastic, it is durable, recyclable, highly transparent, corrosion-resistant and very lightweight in comparison to glass structures.
Its true potential was made evident in the Eden Project, designed by Grimshaw Architects in 1998. The Allianz Arena by architecture firm Herzog & De Meuron, constructed for the 2006 FIFA World Cup in Germany, and the Water Cube, built for the 2008 Beijing Summer Olympics, raised the profile of the technology further.
The concert hall ‘Ark Nova’ created by Japanese architect Arata Isozaki and British sculptor Anish Kapoor Credit: The Asahi Shimbun via Getty Images
Impressive, immediate and mobile, Ark Nova, a collaboration between architect Arata Isozaki and artist Anish Kapoor, provided a mobile performance and exhibition space to unite communities still rebuilding after the devastation caused when a major earthquake and tsunami hit Japan in 2011.
Art and awe
Roomograph was designed by artist Alex Schweder for deCordova Sculpture Park and Museum in Lincoln, Massachusetts in 2011 Credit: Clements/Howcroft Fine Art Photography
The “RedBall Project” by Kurt Perschke is a series of interventions in which a giant sphere is wedged and squeezed into various architectural contexts, altering perceptions of the built environment through humor and surprise.
Started in 2001, the ongoing RedBall Project is a globetrotting temporary art intervention featuring a huge red vinyl sphere squeezed into unexpected spaces Credit: Kurt Perschke
The next frontier
The inflatables are rapidly deployed by semi-autonomous bots and provide stability despite uneven ground conditions. 3D-printed components, made from the excavated soil and rocks, complete the construction.
Designed by Danish architects BIG, Skum is named for the Danish word for ‘foam’ Credit: Rasmus Hjortshoj
The possibilities for future development and use, in and beyond the digital age, have the potential to expand as new frontiers, materials and processes seek to exploit the versatile, lightweight and sustainable nature of inflatable products.
Having established itself within the domain of exploration and experimentation — from the very first steps of aviation to cutting-edge fashion — the blow-up serves to blow out traditional forms and perceptions.