Moon life handbook - 1

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WelcoMe to the Moon life acadeMy

Moon Life proposes that 40 years after the first hu-man being set foot on the Moon, it is time for a more democratic, peaceful, artistic and cultural investiga-tion of space.

Moon Life anticipates a renewed interest in the ex-ploration and colonization of outer space, and specu-lates on the possibility that humans will live in space in the near future. With this thought in mind, the project is a stimulus for artists, architects and design-ers to create futuristic, radical, political but humane concepts for living on the Moon, such as developing a new architecture, reinventing design practices and thinking about models for social, economical and political life. This will result in alternatives for the organization of societies, the use of energy and solu-tions for waste problems. But the project also strives in designing new tools, living environments, usage of materials and creating life support systems, food production, sport facilities, fashion and/or other lei-sure products.

The Moon Life Handbook is an essential tool for the Moon Life Academy. The outcome of the Academy will be presented in the world’s first Moon Life Con-cept Store where the public can see, try and experi-ence the products and prototypes.

The time we live in now is very much looking back to our relationships, values and existing modes of be-ing. We seem to have accepted our limitations and the planet we live on. In this way, Moon Life can be seen as a prompt to explore a new territory in design, art and architecture – all through our lunar imagi-nations.

I hope you will enjoy the ride!

Alicia Framis

content WelcoMe – three introduction – five Majors & Minors – sevenalluMni – tWenty-onesyllabus & speakers – tWenty-sevendissertations – thirty-threeextracurricular activity - sixty-four colophon – seventy

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no, no, no

‘No, no, no, no, no, no, no, no, no, no there’s no limit.’ A legion of parents were scared of the Dutch techno band 2 Unlimited on the release of their song ‘No Limit’ in 1993. The band’s manager remarked that the oldies were scared of techno music like 2 Unlimited because it meant that the teens would be dropping XTC at some warehouse party all night; they would surely not have a bright future, the par-ents fraught. While we can laugh at the irony of the early 1990s with the future of techno synched with the Gen-X factor of nonchalance or whatever, there has been a serious disengagement with optimism in western society since the ‘slacker’ generation. There has been a problem of moving forward, often because there is confusion about what we want. It’s easier to say what we don’t want or don’t like. And when we do have to make our own decisions, taking a risk is immobilizing. So we bog down in our own everyday reality soap.

The inspiration of design studios in universities have also suffered a lack of projection. There is always the impending question in the crit: can you produce it? Can you sell it? Who will want to use it? But this is simultaneously matched by the demands of the tutor. Whether you are designing a gallery concept, a fash-ion capsule collection or a mere doorstop for your design studio, there is never a limit. There are often unrealistic briefs and no budget presented for the task at hand. Reach for the skies, your tutor begs. Try a new form. Check this tool. Flog a theory. This kind of probing borders on passive aggression: reach big but make it real enough, and please, make it ready to market. The generation branded as Y are also just as impatient with demands: you can not wait any longer today for tomorrow, can you? So, do you have a prob-lem in contemporary society of projecting into the future? Is dreaming about the future lame? Or is the lameness just the limit of ourselves?

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As humans dream about the moon (again), there should not be a limit to our imagination. If you think it’s reached its limit, then you haven’t thought hard enough of other possibilities. However, there are a few major problems to overcome: there are the environ-mental and financial costs for relaunching towards the moon today - or in 2020. So, whether you take Moon Life as a metaphor or a real movement, one thing that must occur is inspiration to not only con-nect people, but moreover to collect humanity into a space, at least in theory, not only because astro-travel requires a mammoth group dream or a lot of money, but as a society we need to get out of the current loop. What can trigger the collective imagination today besides wars, disasters, .gifs and apps?

The Moon Life Handbook collects various facts, fig-ures, inventions and anecdotes to roll them together in a loose association. There is no overall truth; de-signers need to make their own narrative out of all the bits and bobs, spicks and specks, and ditjes en datjes that are floating in the ether. From this, please, make a projection - rather than just another product of the times.

Majors & Minors

We may not be experts on the Moon but we can create our own

story. here are some fragments to piece together.

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Mine

There are several resources to exploit from the soil of the Moon, including: iron, aluminium, calcium, silicon, titanium, oxygen and hydrogen. In particular, melting the Moon’s sur-face ice into water, once processed, will provide oxygen (respiration) and hydrogen (fuel). Having fuel and oxygen tanks on the Moon will de-crease costs of future space explora-tion to other constellations. It is thought that helium-3 lies bur-ied in lunar rocks up to 7 m beneath the soil. ‘Helium-3 is considered as a long-term, stable, safe, clean and cheap material for human beings to get nuclear energy through control-lable nuclear fusion experiments’, remarked Ouyang Ziyuan, Head of China’s first phase of lunar explora-tion.

Scientists estimate there are about one million tons of helium-3 on the Moon, which if harnessed, could perhaps power the Earth for genera-tions.

What are other values from these minerals by digging deep?

luna tubes (rilles)

Also under the surface of the Moon, it is said there are natural caverns, which are the drained conduits of underground lava rivers. In places, the cavern roofs can be over 10 m thick. These narrow labryinths in-dent the often-smooth surface of the Moon. The thickness can naturally protect humans from radiation and meteorite bombardment. However, the roofs may not be structurally sound, and prone to collapse. The biggest problem with lunar caves is even more fundamental – they are not located where we wish them to be. Sustained human presence is en-abled by the existence of the material and energy resources needed to sup-port human life and operations on the Moon. After more than a decade of study and exploration, we now know that the location of materials, like ice per se, are near the poles of the Moon, a place where lunar tubes are not.

Is it worth going underground?

cooper pedy

Cooper Pedy is a mining town in Australia with a population of just under 2,000 people. The inhabitants generally live underground in old mines due to the high daily tempera-tures (which average over 30 ºC for five months of the year). The under-ground houses have earth as walls. Need another shelf? Dig a hole in the wall. Compared to traditional

methods above ground, this is much cheaper when extending the house. The tunneling machines can also be used to create carved patterns. Due to the desert climate, there are no trees. The first tree ever seen in the town was a sculpture of one, made out of scrap iron. Despite the lack of foliage, there is still a local golf course where people play at night with glowing golf balls. Golfers over-come the harsh surface by carrying tuffs of grass to tee off.

Can we simultaneously shape physi-cal mining to benefit habitation?

nauru elegies

In the South Pacific Ocean, there is the island of Nauru. It is the world’s smallest independent state. It also represents the most remote extreme of the planet. Its seemingly utopic ge-ography and landscape stages a dys-topic economy and society. It was, by consensus of several ‘great powers’, used as a raw resource until there was literally nothing left. Nauru has been mined throughout the last two centuries for its phosphate deposits, which occupied 90% of the island. In the 1980s, phosphate exports briefly gave Nauruans one of the highest per capita incomes in the ‘Third World’. It is anticipated that the phosphate reserves will be completely exhaust-ed before 2050. Despite this, the un-employment rate currently stands at 90%. As a small territory with no exploitable resources, Nauru turned to off-shore financing in the 1990s by

creating ‘virtual banks’ as a way of earning sorely needed foreign cur-rency. As such, it mirrors the off-shore island economies of The Cay-man Islands, and continental havens like Luxembourg and Switzerland. In an art project entitled Nauru El-egies, there was an architectural component conceptualized by An-nie K. Kwon, which spatializes and formalizes otherwise invisible eco-nomic flows and irreversible ecologi-cal devastation. A new architecture reclaims the hypsographic territory. (djspooky.com/nauruelegies)

If Nauru can be experienced virtual-ly, do we also have to reach the Moon physically? Can we work remotely to benefit from it?

tiMe lag

If humans are to work remotely, there will be a time lag between com-munications on Earth and the Moon - about three seconds. This disadvan-tages humans as the gap means that activities on the Moon may need to go more slowly so that the opera-tor can keep up with the operation. This suggests that repetitious and automative tasks are better for re-mote operations. This type of opera-tion will also requires developments in sensory immersion for activities such as habitat construction.

tiMe

Moon inhabitants will have a dif-ferent rhythm to those on Earth as

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A scene from ‘Moon’, starring Sam Rockwell and Kevin Spacey mining helium-3 on the Moon.

Cooper Pedy looks like it is in the middle of nowhere, and it is: 846 km north of Ad-elaide and 662 km south of Alice Springs.

The Indian lunar probe Chandrayaan-1 mapped the Moon’s surface in 2008.

Phosphate mining on Nauru has stripped about 80% of its land area.

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the length of a day on the Moon is 709 hours (which equates to approxi-mately 29.5 Earth days).

tidal locking

The Moon also has two sides, which could create rhythms. One side, the nearside, looks towards Earth. As this side always faces Earth, it ap-pears that the Moon does not rotate from our point of view. Therefore, there could be a conglomeration of earthbound transportation to the nearside as it always faces Earth. We often refer to the farside as the dark-side. However, it is not so dark. It receives almost the same amount of sunlight as the nearside - except for the reflection of light from Earth. The farside of the Moon has no ra-dio interference; also, as it faces away from Earth, it is a logical point to start exploration to other planets.

loW-g (gravity)

Even if we are on the darkside, the Moon is still connected to Earth by the center of gravity from the Earth-Moon system. This center is actually inside the Earth. However, it is closer to the surface of the Earth, than it is to the center of the Earth.

On space stations, there is little or no gravity. This changes your weight: if you weigh 100 kg on Earth, your weight would only be 17 kg on the Moon. If you jump 30 cm on Earth, you would be able to jump almost 2 m up into the air. Without grav-

ity, there is the risk of a decrease in a human’s bone mass and a decline in their cardiac performance. Unlike space stations (zero or mircograv-ity), the Moon, at 1/6 the strength of gravity on Earth, will allow humans to move with the same posture and motor skills. For how this will im-pact humans on the Moon, it is only speculation, but there will be signifi-cant biological adaptions over time. Maybe, less gravity could prove ben-eficial for rehabilitation from vari-ous physiological diseases. Less grav-ity may also help us see things three dimensionally. (Navigate to http://larseijssen.com/Sergey/Universe01.swf to see the moon and its space questioned as two dimensionial.) If you drop something, you not only have to look down. You might want to check the ceiling.

With less gravity, humans need as-sistance to deal with the transition from 1-G. We need tools to assist us, like light, sound and color.

Walking

It takes a human six hours to prepare for a spacewalk.

investigations into Microgravity

Kitsou Dubois has been creating art works in weightless conditions, with the assistance of the European Space Agency (ESA). Her work, in particu-lar, tries to create defined moments, the extension of expressive move-

Pink Floyd’s ‘The Dark Side of the Moon’ is ranked as one of the greatest rock albums of all time.

‘The Dark Side of Oz’ mashes Pink Floyd and Dorothy.

Microgravity starred in many MTV clips during the late 90s, along with Michael Jackson, Jamiroquai, TLC and Madonna.

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The Top 10 Moon Songs:Echo and the Bunnyman - The Killing Moon

REM -Man on the MoonBrandy - Full Moon

Fleetwood Mac - Sisters of the MoonBooka Shade - Paper Moon

The Police - Walking on the MoonFeist - My Moon, My Man

Frank Sinatra - Fly Me to the MoonMolly Nilsson - Hey Moon

Van Morrison - Moondance

ments, and the adaption of the hu-man body to the no/low gravity.

space stability

Humans not only will fight with gravity while walking and dancing, but with each other as well. The In-ternational Space Station (ISS) shows how we can work together.

Extraterrestial representation on sci-ence-fiction television series presup-poses a future where the prejudices of Earth are left behind. For exam-ple, there are the classic storylines on race which are embodied through alien relationships on ‘Star Trek’. From viewing the program, basic principles become evident. In the fu-ture, or in space, ‘humanity resides in all creatures, everyone is deemed equal, and powerful positions can be achieved by all’.

For a habitat, does that mean we will not live in typical family units as we are on the moon for research purpos-es? Will our sexual relationships be different also? Will we live in small isolated groups or all together?

anousheh ansari

It is estimated that Anousheh Ansa-ri, an Iranian-born American, paid over US$20 mn in 2006 to become the fourth tourist in space, and the first Muslim female. Controversy arose when Ansari included both the Iranian and US flags on the patch of the spacesuit in a period where there

was increasing tension between the two countries.

WoMen

In the 1950s, women performed just as well as men in aeromedical re-search in the USA. Women also have the advantage of generally being lighter than men, which requires less fuel to transport them into space.

no Zone

The advent of human activity on the environment enables new climatic conditions to emerge. For example, the draining of vast land areas in the Netherlands for polders by pumping sand has resulted in a rare flora spe-cies, the Marsh Fleawort, to increase in numbers. Far east, the demilita-rized zone between North and South Korea – relatively untouched since 1945 - is now a de facto sanctuary to endangered animals and plants, such as the black bear, the musk deer and a variety of cranes. Many mi-croclimatic zones are located within the urban landscape also, such as the heat generated between two office towers or the air pollution of a busy arterial route.

Will the reaction of technology and the Moon generate new conditions?

lack of atMosphere

The Moon is devoid of atmosphere as we know it - you can tell by the black sky up there. If you could capture the

Valentina Vladimirovna Tereshkov, the first woman in space.

Dennis Tito was the first space tourist in 2001. While in orbit, he conducted several experiments that proved useful for his com-

pany.

Laika was the first known casualty in orbit, dying on November 3, 1957. Later, a scientist involved expressed her regret: ‘We did not learn enough from this mission to justify the death of the

dog’.

In 1947, fruit flies - the world’s worst fruit pests - were the first animals intentionally sent into

space.

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entire atmosphere of the Moon, you would get a total mass of 10,000 kg. (It weighs less than a large truck.) One source of the lunar atmosphere is outgassing, which is the release of gases (radon and helium) from the radioactive decay of the Moon’s core and crust. Another source is the de-bris stemming from the impact of meteorites with the Moon. The cre-ation of the atmosphere from this impact is called ‘sputtering’, and in this sputter, Earth-based telescopes have detected sodium and potassium in a diffuse cloud around the Moon; NASA’s Lunar Prospector spacecraft detected radon-222 and polonium-201. Apollo turned up argon, helium, oxygen, methane, nitrogen, carbon monoxide and carbon dioxide. How-ever, there quantities are minor. You would die within a minute if you stepped outside. The atmosphere (or exosphere) is so low in density that the rocket exhaust released during each Apollo landing temporarily doubled the atmosphere’s total mass.

sMell

Space smells different but it can only be smelt indirectly as there is no at-mosphere to support human life for us to truly know. Astronauts have re-marked (while removing their space suits in the airlock after a walk) that they can smell the odd odor of the ozone. It has been described as the smell of vacuum and a sweet metal-lic sensation - like welding fumes. A fragrance maker put a bloom-ing rose - Overnight Sensation - on

board another shuttle flight to see if its oil secretions changed in mirco-gravity. The experiment resulted in a new scent.

solar Winds

Solar winds stream off the sun, on average, over 400 km/sec and can travel between 300 to 800 km/sec through space. The Earth is protect-ed from solar winds by its magnetic field; however, the Moon is not. It is bombarded by them. Lunar regolith (dust, soil and broken rock which rests ontop solid rock) is enriched in atomic nuclei deposited from the so-lar winds. There has been specula-tion that these elements may prove to be useful resources for future lu-nar colonies as it delivers carbon and other light elements like hydrogen and nitrogen into the atmosphere.

strike in space

The crew of Apollo 13 went on strike on December 27, 1973, when they shut off communications for twelve hours. It led to a moment of isola-tion, reflection and contemplation. Another act of contemplation in space was the design suggestion of a large-scale Zen Garden on the Moon (by Ayako Ono) as an act of art ther-apy for lunar inhabitants.

sound up

The senses can be provoked in many ways. Though, sound is sharper in space and tactility and taste de-

creases. Vision is also an issue with microgravity. Our angle of vision changes from our usual erect posi-tion. There is also the issue of myo-pia, as the Earth is the only object to easily distinguish in the distance. Color, however, is a way to help hu-mans to perceive.

structure

With ‘no’ atmosphere, aerodynamic forces are not a significant problem on the Moon. Therefore, structures are less restricted by gravity. Due to the extreme cost of importing ma-terials from Earth, materials on the Moon are preferred to use in con-struction. If imported from Earth, pre-fab solutions need to be light-weight. Inflatables are a popular concept - unless one is threatened by a meteorite. Perhaps, lunar regolith could add protection if it was mixed and casted with a mould. Construc-tions risk meteorite impact, outward forces from pressurized habitats, and abrasion from solar winds and cosmic rays.

light

The Moon gives off no light of its own. The light from the Moon is (generally) the reflection of the Sun. Sunlight to the Moon itself is consis-tent, constant and ‘infinite’ - except during the lunar night. Therefore, lunar occupation may be powered entirely by solar power while power can simultaenously be redistributed to Earth. Due to the relatively slow

rotation of the Moon, a vehicle can travel around the Moon at a consis-tent speed of 1.3 km/hr at 86 degrees south latitude, and maintain the sun at the same angle in the sky at all times.

teMperature

If you take a flight to the Moon, don’t forget to pack some warm clothes. At night, the temperature can get below -150 ºC. Days can reach over 100 ºC. Unlike Earth, there is no atmosphere on the Moon to trap the heat. So, the surface is hot enough to boil water during the day.

geography

There are craters around the north and south poles of the Moon which are bathed in complete shadow. These craters are always hovering around -150 ºC.

The lighter areas on the Moon that we can see from Earth are the high-lands. The highest lunar peak, Mons Huygens, is approximately 4.7 km high. The highlands are a part of the original crust of the Moon, shattered by the bombardment of meteorites. In the highlands of the Moon, the material anorthite can be found, which is similar to bauxite (an alu-minium ore). Smelters can produce pure aluminum, calcium metal, oxy-gen and silica glass from anorthite. Raw anorthite is also good for mak-ing fiberglass and other glass and ce-

ramic product.

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business

It is evdient commercial startups could break open a new space race. The Spacecynic blogger refers to these businesses as NewSpace™: com-panies in this category collectively generate tens of billions in economic activity by serving customers – be it for satellite television services, pro-viding in-car navigation capabilities, delivering digital radio, [...] taking high-resolution photos […] If you look at the companies operating in this business – be it XM Satellite Ra-dio, Digital Globe, Direct TV, SES, Intelsat, or their brethren, what you will find is that they are not space businesses, but rather businesses that serve traditional consumers on the ground more effectively by using space as the medium through which they operate their services. (space-cynic.wordpress.com/2007/11)

private

Virgin Galactic are currently build-ing a fleet of private spaceship with ticket prices starting at US$200,000.

space junk

When humans go somewhere, they take their rubbish with them. While humankind has transported and left over 170,000 kg of debris on the Moon, only 382 kg of the Moon has been transported back to Earth. Many things can be found: satellites, lunar buggies, golf balls, flags, a statue and excrement. Leaving junk

in space is a problem like on Earth: space shuttles have been damaged by objects as small as a flake of paint. About 70,000 objects about the size of a postage stamp have been detect-ed between 850 - 1,000 km above the Earth.

association of autono-Mous astronauts

The AAA is a group of individuals and community groups that wish to create an independent network for space travel - to become autonomous astronauts. Is community-based ex-ploration possible if it took a com-mand culture of 1 million man hours with 300,000 people and US$24 bn to land twelve people on the moon? If individuals dedicated 100 hours of progress per year, is it possible?

Vanguard-1 is still in orbit after 50 years.

During a spacewalk to rein-force a torn solar panel during STS-120, a pair of pliers float-

ed away.The PAM-D rocket stage module crashed into the Saudi

Arabian desert.

At the Vandenberg Air Force Base are remnants of the ultra-secret Corona program run by the

CIA.

SOURCE D. Schrunk, B. Sharpe, B.Cooper,

M.Thangavelu, ‘The Moon: Resources, Future Development, and Settlement’ (Chichester, UK:

Praxis 2008).

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Fig. 1. A meteor crater in Arizona, USA.

Fig. 2. The 28 km-wide Euler crater on the Moon as cap-tured by NASA.

More Moon facts

by abigail calzada diaz vu, amsterdam

…

The Moon is the only natural satellite of Earth and the only celestial body where humans have landed. Its ra-dius is approximately 0.27 of Earth.

origin

There are many hypotheses about the origin of the Moon. Currently, the most accepted theory is called the giant impact hypothesis, which explains that the Moon was formed by a collision between Earth and a huge Mars-sized body when the Earth was very young. The collision blasted material into orbit around the proto-Earth, which accreted to form the Moon. The large amount of energy released from the giant im-pact and the subsequent accrection melted the young moon, forming a magma ocean.

basins, Maria and craters

Basins are easily seen from the Earth by unaided eye. They have been cre-ated as excavation by the impact of gigantic meteorites.

The difference between a basin and a crater is the size; basins are over 300 km in diameter while craters are smaller. The Moon’s surface is covered by lots of meteoritic craters.

Since it was created, the Moon, (and even Earth, See Fig. 1.) have been bombarded by millions of celestial bodies of different sizes. On Earth, erosion and tectonic processes erase any trace of these impacts; the ab-sence of atmosphere on the Moon keeps these scars, which provides us information about the age or inter-nal structures. (See Fig. 2.)

exploration

There have been 52 missions to the Moon since 1959. The first mission to land on the Moon’s surface was the Russian Luna 9, in January 1966. The Apollo program began on July 1960 as a continuation of the Mer-cury Program. Its goal was to send manned missions to the Moon and return back safety to the Earth. They developed some scientific packages including spectrometers, suprather-mal ion detectors and seismometers.

Since the Apollo program finished in 1972, there were no more missions until the 90s. In 1994, the US Depar-ment of Defence, in collaboration with NASA, launched the Clemen-tine mission. They obtained detailed images of almost all the surface in eleven spectral bands.

The Moon is a sterile environment, absent of bacteria and viruses; this fact may allow us to construct space-crafts, accomplish biological experi-ments and agriculture uses avoiding plagues, pests and pathogens.

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alluMni

space research often turns into earthling objects over time. here

is a quick list of some past tech twists.

…

technology transfer

ESA states: ‘Technology transfer is the process of using technology, ex-pertise, know-how or facilities for a purpose not originally intended by the developing organization’. Transferring such technologies and know-how is not an easy task and the process relies heavily on personal networking. Most technology trans-fers have a safety benefit but they do not always have a social benefit.

There have been more than 6,300 technologies that have been spinoffs from NASA, that is, a commercial-ized product incorporating NASA technology or know-how which ben-efits the public. This is about one in every thousand patents ever issued by the US Patent Office. ESA claim more than 200 successful transfers of space technologies to nonspace sectors. But there are lots of prod-ucts that were not invented by space organisations that we think were.

baby suit

A respiratory inductive plethysmo-graph suit to study the respiration of astronauts during space missions

was developed into a baby suit with sensors (Mamagoose) to try and pre-vent Sudden Infant Death Syndrome (SIDS). The five sensors continu-ously check the baby’s heart beat and breathing while sleeping. The spe-cial sensors are built into the cloth and have no direct contact with the body.

beer

Barley grains that were suspended in space for over five months are being used to brew space beer in Japan de-spite the fact that scientists remark that there is no difference between earth- and space-grown barley.

cognac

French spirit makers Remy Martin have developed a cognac at -12 ºC fit for drinking in space. After freez-ing, the cognac is filtered in a similar manner to the process of recycling water in spacecrafts. The process re-moves fatty substances from the co-gnac, which concentrates its aroma and makes it fluid at sub-zero tem-peratures. The cognac comes in a

The pendant pictured above holds actual black basaltic moon rock (0.65 carat). The rock was passed on from an astronaut to a friend who then tried to sell it back to NASA. It is estimated to be worth

over US$40,000.

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prominent players in such diverse applications as firefighting and emer-gency response, motor sports, mili-tary, industry, and (still) aerospace.

satellite

The first and most natural com-munication satellite was the Moon. American Army engineers used the Moon to reflect communication sig-nals during a ‘solar storm’ in 1955 because normal communication had ceased.

scrubber

Ethylene, comprising of carbon and hydrogen, is an oderless and color-less gas which heightens the matur-ing of fruit and flowers. In a closed environment, the production of eth-ylene by fruit and flowers increase. Reducing ethylene is important to preserving crops not just in space, but also on Earth, where grocers and florists have an interest in reducing the gas in order to increase the shelf life of their products. The technol-ogy has now been used from refrig-erator trucks in the Middle East to doctor surgeries in the US to reduce germs. Now available is in a new line of home refrigerators.

space suit

A space suit must meet stringent re-quirements for life support. It is not a simple article of clothing but rather a complex modern armor providing protection from chemical, biologi-

cal and nuclear inhalants. The suit has to be made of durable material to withstand the impact of space de-bris and protect against radiation. It must provide essential oxygen, pres-sure, heating, and cooling while re-taining mobility and dexterity. ESA helped to develop a ‘space suit’ that protects people with the rare disease Xeroderma Pigmentosum from the sun, in particular, UV-radiation. It includes a cooling system that can be worn under normal clothing.

velcro

It is a misnomer that velcro was in-vented for outer space. It was invent-ed by a Swiss hunter in the 1940s, who observed the unremarkable event of burrs (hooks) sticking to the coat (loops) of his dog. Velcro was popularized by the space indus-try after NASA used velcro all over its rockets: to anchor equipment, to fasten space suits, and to stop objects from drifting away, such as dinner trays placed on an astronaut’s lap. In space, velcro is almost weight-less. Velcro is strong enough that a 5 cm square piece is enough to sup-port a person of approximately 80

flexible plastic flask complete with a drinking straw and an anti-leak valve to stop the liquid trickling out at 0-G. It also has a metalized ther-mal wrapper designed to protect against external radiation.

freeZe-dried food

Freeze-dried technology was de-veloped originally for preserving plasma during World War II. This process proved effective on food for extended manned space flights such as the Apollo missions. In the pro-cess, the moisture is removed by sub-limation; it turns into a vapor before it turns into a liquid. The process works best on thin slices of meat and small objects like peas.

Mini-skirt

Not everything fashioned for space is utilitarian. At the age of 25, after studying to be a civil engineer, An-dre Courreges became the father of the mini-skirt, the shift dress and the ‘Moon Girl’ look. In 1968, Courreges debuted the Space Age collection:; it was described as functional, unclut-tered and futuristic. Featured in his

autumn 1964 collection were flared mini dresses with plastic portholes for waistlines and an assortment of hats shaped like platters. But even more revolutionary was the footwear: low-heeled, calf high boots made of white plastic and ornamented only with a clear cut-out slot near the top.

orange

Whitney Smith suggested an orange flag was best for Antartica due to vis-ibility.

polyMer fabric

Polybenzimidazole (PBI) was de-veloped for the need to insulate and protect humans in extreme tem-peratures. It was developed in the 1950s for the US Air Force. It is a non-flammable and thermally stable textile fiber. A line of PBI textiles was consequently developed for use in space suits and vehicles. The fi-bers formed from the PBI polymer exhibited a number of highly de-sirable characteristics, such as the retention of both strength and flex-ibility after exposure to flames. Fab-rics incorporating PBI have become

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kg. This fact was a catalyst for Velcro Jumping, where participants wear-ing a velcro jumpsuit, fling them-selves against a velcro-covered wall.

and More ... - Athletic shoe companies adapted space boot designs to shoe insoles in order to lessen impact by adding spring and ventilation.- NASA used the same principles that reduce drag in space to help create the world’s fastest swimsuit for Speedo.- An atenna stitched into the sleeve of the space suit will soon be avail-able for rescue team garments.- A microalgae-based, vegetable-like oil called Formulaid (developed from NASA-sponsored research on long duration space travel) is now being used in baby food. It contains two essential fatty acids found in human milk but not in most baby formulas, believed to be important for infants’ mental and visual development.- NASA developed a container to grow lettuce in space that is now be-ing used by biology classes to con-duct experiments.- ESA assisted a crisps manufacturer to develop a production and pack-aging method that avoids the crisps from cricking during the process and transport.- The exploration of Mars, as well as space shuttle and space station mis-sions, produced revolutionary imag-ing technologies now being applied to generate 360-degree views of real estate and rental properties; unprec-edented panoramas of far-flung des-

tinations; and immersive views of metropolitan areas for infrastruc-ture monitoring and navigation.- The CAT scanner, a cancer-detect-ing technology, was first used to find imperfections in space components.Teeth-straightening is less embar-rassing thanks to transparent ce-ramic brace brackets made from spacecraft materials.- Research into space has developed remote medical support via satellite communication.- NASA created a tastebud-pleasing toothpaste that could be swallowed.Advanced self-illuminating materi-als such as emergency exit lights and runway guides were first designed for space shuttles.- A GPS-based tracking system of spacecraft is now being used to mon-itor empty space in (truck) shipping containers.- Current home insulation utilizes reflective material that protects the interior of a spacecraft from thermal radiation.- Domestic versions of the water filter borrow a technique NASA pioneered to kill bacteria in water taken into space.- NASA invented the first adjustable smoke detector with sensitivity lev-els to prevent false alarms.

Super Auction Galleries of Beverly Hills pres-ents The Spring 1994 Memorabilia Auction and Reference Catalog June 25 - 26, 1994.

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SOURCES www.esa.int/esaKIDSnl

www.nasa.gov/externalflash/nasacity/index2.htm

www.sti.nasa.gov/tto

syllabus & speakers

the Moon life academy has gathered an assortment of experts in the field. following, they present themselves with their lecture outlines.

abigail calzada diaz, barbara imhof, rob la frenais, susmita Mohanty, david raitt, irene lia schlacht and andreas vogler

abigail calZada diaZ

The Moon is an ideal place for future exploration, re-search and settlement. Its resources, proximity and physical features make it a perfect place for the next stage of space exploration. Abigail Calzada Diaz will comment on the geological characteristics and re-sources, as well as former missions conducted to the

Moon in order to highlight its potentialities.

barbara iMhof

The lecture will focus on RAMA (Rover For Ad-vanced Mission Applications). RAMA is named af-ter the Rama Chronicles by Arthur C. Clarke and is a mobile research laboratory for the Moon and for Mars. The key content will comprise the various as-pects of the concept design study conducted in the frame of an ESA contract for Architecture Stud-ies (2008/09). The lecture will show the operations, technologies and key elements of daily life traveling on the Lunar surface for a 42-day mission. Moreover, Barbara Imhof will detail how the RAMA vehicle and its interior integrates all aspects of space design, such as engineering, scientific and human factors, as

well as architectural issues.

ABIGAIL CALZADA DIAZ undertook a ‘Licenciatura’ in Geology from Universidad de Oviedo in Spain. Afterwards, she relocated to the Netherlands in order to complete her final year of the Earth Sciences Master at Vrije Universiteit Amsterdam. Presently, she is working on her Master’s thesis, which analyzes Apollo traverses in order to apply them to future traverses of the South Pole on the Moon. Concurrently, Abigail Calzada Diaz is collaborating as an ‘Earth’ supporter with two crews performing a simulation at

the Mars Desert Research Station in Utah.

The Mercury Seven.

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rob la frenais Rob La Frenais will outline the relationship between

art and space.Rob La Frenais has been Curator of The Arts Catalyst since 1997. He is a curator and critic who has curat-ed and produced interdisciplinary and visual art projects since 1987. Before joining The Arts Catalyst, he was a freelance curator and organizer working in a European context in various countries, including being the Chief Executive of the Edge Biennale Trust in London and Madrid, and the Artistic Director of the Belluard-Bollwerk International in Switzerland. In 1979 Rob founded the groundbreaking ‘Per-formance’ Magazine, which continued as an authoritative cultural voice in Europe until 1992. He has a Ph.D in curatorial practice across disciplines and is an honorary Doctor of Arts at Dartington College

of Arts. www.artcatalyst.org

A protégée of the late science fiction writer, Sir Arthur C. Clarke, Susmita Mohanty is a young space en-trepreneur who seeks to blur the boundaries between science fiction and reality through creative entre-preneurship. Susmita has founded three space companies since 2001: MOONFRONT in San Francisco, LIQUIFER in Vienna, and most recently EARTH2ORBIT in Mumbai. Prior to taking the entrepre-neurship plunge, Susmita worked in international business development for the Space Station program at Boeing, Huntington Beach and worked on Shuttle-Mir projects at NASA’s Johnson Space Center in

Houston.

Educated in India, France and Sweden, Susmita holds degrees in Engineering, Industrial Design, Space Studies and Aerospace Architecture. In 2005, she became the youngest recipient of the International Achievement Award from Women in Aerospace, a Washington DC based organization and was also nominated for the 2004 MIT Technology Review¹s Top 100 Innovators Award. She is one of the youngest members of the International Academy of Astronautics and also sits on the Space Architecture Techni-

cal Committee of the American Institute of Aeronautics and Astronautics.

Susmita moved her base camp from San Francisco to Mumbai in 2008 and looks forward to leading India’s foray into human space exploration. www.earth2orbit.com

Barbara Imhof is the Co-Founder and Partner of LIQUIFER Systems Group, a multidisciplinary plat-form that takes innovative approaches to terrestrial and extraterrestrial architecture. LIQUIFER devel-ops concepts for living and working environments tracing, advancing and reflecting future development potentialities and anticipates deepening the exploration of synergies between space and earth applica-tions for architecture. In addition to being a practicing architect, Barbara Imhof lectures and publishes

regularly in the field of both earth and space architecture.

Barbara Imhof worked as a space architect on NASA’s BIOPLEX Project (an Earth test bed for a human mission to Mars) at the Johnson Space Center in Houston. Other projects include the ESA feasibility study of a €200 mn integrated European Simulation Facility and the most recently completed project RAMA, a pressurized Rover for Advanced Mission Applications in the frame of the European exploration program

and under the contract of Thales Alenia Space and the European Space Agency.

This year, Barbara Imhof was invited by Eric Owen Moss to represent Austria at the 2010 Architecture Biennale in Venice. The work shown will be a collaborative between her and Susmita Mohanty.

Barbara Imhof holds an architecture degree from the University of Applied Arts where she studied with Wolf. D. Prix of Coop Himmelb(l)au. Additionally she holds a Master of Science from the International Space University and a P.hD in architecture from the University of Technology in Vienna. www.liquifer.at

david raitt

The Moon in Mythology, Art and Literature

The Moon – seemingly suspended as a silver crescent or orb in a deep blue sky – has always been an object of fascination, veneration and awe. It has been the subject and inspiration for countless creative works and appears as a motif in literature, poetry, art, mu-sic, film, performing arts and sculpture. It has also been the source of numerous beliefs, myths, super-stitions and taboos and has influenced agriculture

and gardening, as well as moods and behavior.

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susMita Mohanty

Susmita will begin her talk with a couple of film shorts created for the 2001 Arthur C. Clarke Gala hosted at the Playboy Mansion. She will then go on to present selected future concepts for moon bases from the 2002 Lunar Base Design Workshop. Susmi-ta will also present a compilation of high-resolution images from the Indian lunar orbiter Chandrayaan-1 and a high-definition video from the Japanese orbit-er Kaguya. She will give the workshop participants a snapshot of India’s plans for human spaceflight and

planetary exploration as well as the upcoming mis-sion to the Moon by Chandrayaan-2.

Susmita has selected an assortment of creative prop-erties to stretch the imagination of the workshop par-ticipants. The film shorts will create the philosophi-cal base for exploration and expansion of the human species. The lunar base advanced concepts will cat-alyze visualization of lunar habitation and human activities. Chandrayaan and Kaguya imagery will bring the Moon alive as a real tangible destination.

irene lia schlacht

The Habitability of Moon Base: A Holistic Vision

Irene Lia Schlacht, from the Extreme-Design.eu re-search group, will present the discipline of Holistic

Human Factors, as applied to Moon Base.She develops her presentation in the context of the Mars Habitability Project, her personal experience and research carried out on at the Mars Desert Re-search Station (MDRS) during the EuroMoonMars-1

mission.

David Raitt recently retired after forty years from ESA where his last position was Senior Technol-ogy Transfer Officer. In this position, as well as carrying out his day-to-day duties, David Raitt cre-ated a variety of initiatives and competitions that tried to reveal a more human side of space by showing the influence of space on design as well as literature and art. One particularly notewor-thy study that he initiated and managed related to innovative technologies from science-fiction for space applications. Essentially this study sought to ascertain whether science-fiction literature, arts and films contained concepts or technologies which had been overlooked by space agencies and industry and which might be possible to achieve with today’s scientific and technical advances. The work generated much worldwide press and public interest and as a result of this activity, an increas-ing number of individuals and organizations turned to ESA for support in their space art and cul-tural activities. This led Raitt to initiate a Space, Art and Cultural Initiative and to organize several workshops and activities in this area, including the Space and Society series of international confer-ences. He was also involved in the ESA study on Culturization of the International Space Station.

Irene Lia Schlacht is a researcher in the field of Outer Space Design. Currently, she is working on her Ph.D; ‘Outer Space Habitability’ at the Technische Universität Berlin as the Chair of Human-Machine Systems. In 2006 she graduated in Industrial Design at the Politecnico di Milano with a thesis on ‘Color Requirement in Outer Space Habitats’. After an internship at Thales Alenia Space Human Factors de-partment, she conducted research in Space Human Factors at Università di Torino. She led the ‘Cro-mos’ experiment on color perception in microgravity. The experiment, conducted during the ESA para-bolic flights campaign in September 2006, was awarded by ELGRA in the 2007. In April 2010 she was

The presentation will take a light-hearted and vi-sual look at the Moon in these various contexts. Among the topics considered will be the Moon as inspiration: Moon gods and goddesses in various countries, the association of Moon characters with the names of spacecraft, Moon myths and super-stitions, the Moon in folklore and agriculture, and also in art and design, literature and films (includ-ing science-fiction). Finally, the Moon as a stimu-lus for public engagement will also be considered.

invited by ILEWG (International Lunar Exploration Working Group) to investigate habitability and sensory experiences in space as a crew member of the EuroMoonMars -1 mission at the Mars Desert

Research Station.

Since 2007 she has been coordinating Extreme-Design.eu, an international group consisting of outer space researchers from different disciplines including space art, psychology, and anthropology. www.

extreme-design.eu

andreas vogler

Architecture and Vision: Aerospace Architecture

The lecture will present several space projects of the design studio Architecture and Vision founded by Arturo Vittori and Andreas Vogler. MoonVille is a design study for a future moon settlement on the South Pole of the Moon in the year 2049. Moon-BaseTwo is an inflatable moon habitat for four astro-nauts. MarsCruiserOne is a study for a pressurized rover, which could also be used for environments on the Moon. Along with the explanation of these proj-ects, several issues of space and moon habitation will be raised, which highlight the necessary integration of architecture, engineering and psychology in the

design of long-duration space habitats.

Andreas Vogler is a Swiss architect and designer, and a founder of the research and design studio Archi-tecture and Vision. He graduated from the Swiss Federal Institute of Technology in Zurich in 1994. He then collaborated with Richard Horden in London, later becoming his teaching and research assistant at the Technical University of Munich, where he taught semester courses in aerospace architecture and

micro-architecture.

In 1998 he started his own practice in Munich, working on several architectural competitions. He was a Guest Professor at The Royal Academy of Fine Arts Copenhagen in 2003-2005, where he undertook research in prefabricated buildings and in 2005-2006, he participated in the Concept House research

group at the Delft University of Technology.

He has written several papers on space architecture and technology transfer to architecture for inter-national conferences, and organized the Space Architecture session at the International Conference for

Environmental Systems ICES in Rome in 2005.

Vogler has been teaching and lecturing at Hong Kong University, La Sapienza Universi-ty Rome, ETH Zurich, IUAV Venice and other international universities on Industrial De-sign and Architecture. He is a member of the Bavarian Chamber of Architects (ByAK), the Deutscher Werkbund, and the American Institute of Aeronautics and Astronautics (AIAA).

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dissertations

i

MicrocosMic getaWays aboard space habitats

susMita Mohanty, barbara iMhof

Published in: M. Widrich (ed.), ‘Mi-crocosms’, MIT Architecture Journal #30, Cambridge, USA, May 2005.

As humankind raced to reach the Moon in the past, the holistic expe-rience of the space journey often got lost along the way. A return to the moon profers opportunity to think our relation with space travel anew. Susmita Mohanty and Barbara Im-hof detail how astro-travel can be enriched so that we can become less alien in space.

1.0 long terM habitation in [outer] space

Long duration space missions re-quire crews to live in isolation and confinement for several months at a time. Some Russian cosmonauts have even spent a year or more aboard the Mir space station. The crews live in cramped conditions, away from family and friends, away from easy physical access to the out-doors, away from the comforts of local cultural anchors, away from the plethora of sensory stimuli that they are accustomed to on Earth.

‘We are tired of each other cramped in here in this small station.’ - Valen-tin Lebedev, Cosmonaut, Salyut 7.1

The Russians have identified three phases in adaptation to space. The first lasts up to two months and is dominated by adjustments to the new environment. This is followed by increasing fatigue and decreas-ing motivation, ‘asthenia’. What once seemed exciting becomes bor-ing and repetitious. Next comes a lengthy period during which the asthenia, which can include de-pression and anxiety, worsens.2 The space habitats that astronauts live in are a homogenized composite of cylindrical pressurized metal tubes with cramped machine-like interiors. Here, they spend their time perform-ing prescribed mission tasks, rou-tine chores, and tackling occasional emergencies. Some missions are so packed that the astronauts don’t have enough time to eat, exercise, or sleep. Over-tasking and lack of sleep led to a strike in space when the third crew of the Skylab3 space station turned off the radio and refused to talk with Houston Mission Control. NASA Ground Control eventually eased off on their workload and the astro-nauts returned to work. There are anecdotal references on the Russian side as well, all pointing to the fact that astronauts are not superhuman, and have to deal with problems, which become more pronounced as mission duration increases.

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The first backpack worn on the Moon.

huMan factors

Psychological

<Territoriality><Withdrawal><Privacy><Depression><Anxiety><Anger><Hostility><Fear><Ego><Homesickness>

<Demotivation><Loneliness>

Social

<Privacy><Conflict><Love><Sex><Groupism><Cohesion><Tension><Competition><Aggression><Rebellion>

<Disagreement><Family Emergencies><Leisure><Conflict>

Sensory

<Visual><Tactile><Auditory><Olfactory><Gustatory><Cognition><Real/Virtual>

Spatial

<Cramped Volumes><Linear Configurations><Interiors><Outfitting><Movement><Orientation>

<Outdoor Access><Windows/Windowlessness><Technologized Spaces>

Work-Related

<Overload><Not Enough Work><Scheduling><Fatigue><Monotony><Boredom><Not Enough Time for Real Science>

<Not Enough Time for Exploration><Emergencies><Team Dynamics>

Habitation-Related

<Illumination><Temperature><Noise><Odor><Air/Water Quality><Food><Sleep><Health>

<Hygiene><Exercise>

‘The problems arise after the ini-tial shock and awe of the envi-ronment wear off, and the crew members get to know their sur-roundings a little better. Then they begin to rebel against authority and each other.’ – Dr. John Annexstad, Space Scientist, 10-time veteran of scientific Antarctic missions .4

In the future, the journeys will get more daunting. Humans will jour-ney to Mars, a journey that will last almost two and a half years includ-ing six months in transit each way and five hundred days of stay on the planet. On such an arduous jour-ney, the stakes will be much higher. One needs to prepare for all kinds of scenarios that a micro-society of up to six crew members might have to face on their Martian journey: sensory deprivation, monotony, de-pression, work overload, interper-sonal conflict, mishaps, and more. ‘The ability to put [Mars mission] as-tronauts on the couch and help them through difficulties is going to be limited.’ – Dr. Al Holland, Psycholo-gist, NASA Johnson Space Center Under these circumstances, it is im-portant that the crew has either by design, or they improvise, imagine, invent, or discover individual or collective ‘microcosmic getaways’ aboard their space habitats. These getaways could be stimulus spaces (real or virtual), artifacts, or even imaginary worlds – those that lead to a positive physiological or psycho-

logical activity or response.

2.0 getaWays are extreMe environMent counterMea-

sures Getaways can play a vital role in enhancing the socio-psychological health of the crew, and thus im-prove the quality of life aboard space habitats and ensure mission success. Getaways can serve as effective coun-termeasures to a plethora of human factor issues that can crop up in the extreme environment of outer space. The schematic (on the facing page)gives an overview of the wide array of human factor issues that need to be addressed on long duration mission.

In the sections that follow, the au-thors take the reader on a metaphor-ical walk through space habitats part real, part utopian in search of micro-cosmic getaways. The real habitats are the former Russian station Mir and the current International Space Station (ISS) Alpha. The utopian habitats are experimental concepts that break the ‘man-in-a-can’ para-digm of space architecture practiced at governmental space agencies.

3.0 getaWays on Mir and alpha

The authors have worked on design projects related to the Space Shuttle, the former Russian space station Mir, and the current ISS Alpha. In this section, they present a diverse selec-tion of getaways from Mir and Alpha:

A schematic giving an overview of an adverse and complex array of human factor issues that gateways can help counter.

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A sauna on MirA tearoom on KiboA cupola on the AlphaA floating sculpture on Mir

a sauna on Mir

Mohanty 6 worked on a project to generate design concepts for whole body cleansing systems for the ISS. In her analysis of the use of an earth-type shower in space, she reviewed the showers used on Skylab and Mir. She reported that the use of a shower in microgravity was cumber-some. Although the actual shower-ing takes just a few minutes, (1) the wait before the shower for the water to heat was too long, and (2) it took almost twenty minutes to clean the enclosure afterwards leaving the as-tronaut cold, thereby taking away the pleasure of a warm shower. To offset these problems with the shower on Mir, the Russian cosmo-nauts found a cultural solution. They improvised and started using the shower enclosure for an air show-er (sauna) about once a week, with warm or hot air flow, followed by a rubdown with a moist towel. To use as a sauna, the fan and heater were turned on. Unlike the regular show-er, this mode required no waiting for the water to heat, and there was less cleanup of the water afterwards. Many cultures have their versions of the sweat bath, from the Finnish sauna to the furo of the Japanese, from the banya of the Russians to the hamam of the Turks. The culture of the sauna is one of getting away

from the stress of daily life, and es-caping to a world where an unhur-ried attitude is embraced as being es-sential for quality of life. It is a kind of ‘short term vacation spot’ where you take refuge from all the hard work, and relax, cleanse, converse, lounge with family and friends. It is a place for cleansing the body and the mind. In space, as on Earth, a sauna can help maintain physiologi-cal and psychological well-being.

a tearooM on kibo

The Japanese space agency (JAXA) plans to include a thirteen square foot (4 m2) tearoom in Japan’s sec-tion of the ISS, the Kibo laboratory module. This is Japan’s way of intro-ducing an island of tranquility on the space station, a getaway from the rigor of daily life aboard the space station. A team of experts from To-kyo National University of Fine Arts and Music helped with the design. The idea was to recreate a traditional tearoom while making creative use of three-dimensional space in weight-lessness. The Japanese tea ceremony, chanoyu, has its origins in Zen Bud-dhism. Over centuries, this ritual de-veloped into an art form. Sen Rikyú, its greatest exponent, established the principles of wabi (simplicity) and sabi (tranquility) that underpin the ceremony. He defined the details of etiquette, location, and equip-ment that reflect those principles. At its simplest, the tea ceremony is an aesthetic way to entertain guests, a meditative experience, a celebration

Shower on the MIR station.

Cosmonauts dressed for a space walk aboard Mir space station with the green ‘cosmic dancer’ sculpture float-

ing in the foreground.

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feeling, as if one would hold a living be-ing. We think that such art works are not only important to the artists who send them into space but also for us cosmonauts who simply feel the pres-ence of a little artwork as comfortable.’ - ‘Cosmic Dancer’ Commentary, Cos-monaut Alexander Polischuk on Mir10

While playing with the ‘cosmic dancer’ the cosmonauts could leave their ‘real’ environment they were in by creating a ‘dynamic virtual space’ initialized by the object. The weightless environment let the object ‘dance’ thus creating a playful get-away, in which the cosmonauts could float and therefore have the possi-bilities of many different positions between the object and themselves.

4.0 getaWays on utopian outposts

In this section, the authors shift the spotlight to space art, architecture and design projects conducted out-side the traditional realm of space agencies. They showcase getaways from futuristic, experimental, uto-pian concepts for orbital and extra-terrestrial outposts, some of which they were instrumental in creating.

A greenhouse on KEPLER moon base A bar on KOPERNIKUS lunar outpost An art studio in space a greenhouse on kepler Moon base The KEPLER Base was one of the

utopian lunar base concepts gener-ated during the Lunar Base Design Workshop led by Mohanty and Im-hof. It was hosted at the European Space Agency and the Vienna Uni-versity of Technology. The objective of this workshop was to generate new, bold, unorthodox architectural concepts for future space outposts. The KEPLER Base was a proposed ‘subterranean’ live-work space on the Moon. One of the prominent features of this base was the green house component. The base fea-tured two centrally located, 400 sqm greenhouses as part of their closed-loop life support system. As large parts of the crew’s stay is spent underground, the designers of the base created a ‘simulated out-door’ environment indoors using a prominent greenhouse and careful planning of movement within the base. In outer space, the need for humans to stay cooped up in pres-surized interiors limits physical and visual access to the ‘outdoors’. So the designers can facilitate the need to escape from the rigors of daily life on space outposts, by design-ing a ‘notion’ of the outdoors in-doors, by creating virtual getaways.11 a bar on kopernikus lunar outpost Yet another utopian concept that emerged from the Lunar Base De-sign Workshop was a surface lunar outpost set in the year 2069 named KOPERNIKUS, with a mission to provide commercial services to the

of exquisiteness and delicacy of form. At its most complex, the ceremony is loaded with meaning. Practitio-ners see significance in every move-ment and utensil, even in the color of the hostess’s kimono, the tatami mats on which the guests sit, the garden in which a teahouse stands, the teahouse itself, even the num-ber of nails in the teahouse door.8

‘Space travel is psychologically diffi-cult so the idea is to provide a calm place where astronauts can relax. This should help them maintain good working relationships.’ – Yoshihiro Nakamura, JAXA spokesperson9

a cupola on alpha

The cupola is an Italian hardware contribution to the ISS. It is a pres-surized space station element with seven windows that will provide vi-sual access to the activities outside the station and give the inhabitants a portal for spectacular views to-wards Earth. From a technological perspective, it will be home to the command and control workstations to assist in Space Station Remote Manipulator System or robotic arm manipulations, and Extra Vehicular Activities (EVA). Symbolically, the cupola will be a ‘window to the uni-verse’, a cosmic vault, as is the case of the cupolas found in Italian church architecture. For the astronauts, it will be like a portal into the infinite expanse of the cosmos, a verandah, a lookout, a private spot, a getaway.

a floating sculpture on Mir The ‘cosmic dancer’ sculpture on Mir was a contribution by artist Ar-thur Woods. Woods chose green as the color for the sculpture to provide contrast to the drab station interiors cluttered with equipment, tubes and cables as well as to induce psycho-logically calming effects due to its association with nature. ‘Prior to commencing to fly, I was interested in art andrelaxed with it from my professional occupation. [In school] I played the bandone-on and clarinet … [In university] I played the saxophone. On board we have a keyboard, which was brought to us by Jean Luc Cretien. In our free time we sometimes play it. But there are also moments, where for weeks I cannot even look out of the portal, as I am too busy carry-ing out operational and reparation works on the station. The station is over seven years old and needs spe-cial attention. And those are the days where, when having a free minute, it is comfortable to look at some art ob-ject, it being a picture or a sculpture like we have taken with us on board. The form of the sculpture is original, angular and avantgarde, and inspires for diverse thoughts and fantasies. One can see in this figure any being one wants. Therefore it is interesting to enjoy looking at it and to hold it in ones hands. When holding it in one’s hands, one caresses it and feels a cozy

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spective effects is summarized below.

As is evident from the matrix (on page forty-two), the psychological, social, sensory and spatial implica-tions of getaways can be substan-tial. The designers of future habitats need to take this into consideration. Further analysis of whether the getaways presented here, were cre-ated by design, improvisation, in-vention, imagination or discov-ery led to the following findings. Most of the getaways discussed in this article were either created by design or by improvisation. The imagina-tion and discovery components were also present. It is possible that on long missions, astronauts might in-vent their own getaways in transit or at their destination. The third and fi-nal analysis studied whether the get-aways were individual or collective. Most of the getaways were flexible and could be used either individual-ly or by a group. Flexibility is an im-portant design element for getaways.

The future lies in taking a multidisciplinary approach to the design of future habitats, rather than the engineering dominated ap-proach used by space agencies. It is also im-portant to redefine ‘the right stuff’ which as-sumes astronauts to be superhuman and above socio-psychological problems. The success of future long duration missions will depend as much on the socio-psychological health of the crew as it will on technological capabilities. The new generation of space architects, en-gineers and designers are taking the human enterprise of exploring space to a whole new realm. They seek a holistic human-centered

approach. And they are not afraid to ask the question: why should we only take the scien-tific and technological aspects of our civiliza-tion when we go out and explore the cosmos, why shouldn’t we also take with us our cre-ative and cultural attributes as human beings. The new genre in space architecture as il-lustrated here by the KEPLER Base, KO-PERNIKUS outpost, ISADORA module and the Satellite Art Gallery, is in its early stages, but it is all set to transform the real-ity of future space outposts. These stations of the future will incorporate ‘microcosmic getaways’ not by accident, but by design. And it is entirely possible that these get-aways, over time, will include new and yet unknown experiences, and not just borrow from the portfolio of earthly experiences. 1. Valentine Lebedev, ‘Diary of a Cosmonaut: 211 Days in Space’ (New York: Bantam 1988), p. 300.2. R. Persaud, ‘Mars: A big step for woman-kind?’, Telegraph, January 21, 2004. At: http://www.telegraph.co.uk (accessed June 3, 2005).3. American Space Station.4. Persaud.5. Persaud.6. Co-author.7. Susmita Mohanty, ‘Design Concepts for Zero-G Whole Body Cleansing on ISS Alpha’ NASA/CR-2001-208931, 1997, pp. 9-11.8. At: http://www.twinings.com/en_int/world_of_tea/japan_cult.html (accessed June 4, 2005).9. M. Murphy, ‘Japan plans tearoom for the ISS’, New Scientist, February 20, 2002. At: http://www.newscientist.com (accessed June 3, 2005).10. At: http://www.cosmicdancer.com (accessed June 3, 2005).11. Susmita Mohanty, Barbara Imhof, P.J. van Susante, ‘European Lunar Base Concepts’, 2003-01-2652, 33rd International Conference on Environmental Systems, 2003, pp. 9-10.12. Mohanty, 2003.13. Susmita Mohanty, Barbara Imhof, ‘Trans-Gravity: The Third Genre in Space Architecture’, 2004-01-2370, 34th International Conference on Environmental Systems, 2004, p. 9.14. At: http://www.tate.org.uk/space/studio-cousins.htm (accessed June 3, 2005).

lunar communities in the vicinity. These commercial services, includ-ed among others, a bar as a leisure activity engine where outpost crew and their neighbors from nearby lunar communities could converge for lounging, dancing, and partying. The bar could also serve as a space for hosting periodical events such as the one demonstrated by the hypothetical flyer of the 20th anniversary of the lu-nar surf-society (on page forty-two). The bar module on the top com-prises a solid central module with inflatable parts on the sides that can hold up to thirty people and a bar-tending area, a lounging area as well as an air cushioned dance floor.12

an art studio in space The ISADORA Module is the name given by American-Brazilian de-signer Ricky Seabra to the project he has devised for artists to go into space. The aim is to give artists resi-dencies on board a space station. About two-thirds of the eight me-ter long module would be a perfor-mance studio space, the remaining one-third would be a cozy cushion pit where artists and astronauts could gather to talk and relax.13 ‘Isadora will be a vehicle to explore the poetic potential of space; an ex-perience that will most certainly broaden and deepen our percep-tion of the Universe, our Earth, and Ourselves.’ – Ricky Seabra, Creator of the ISADORA concept The idea of ‘art in space’ is not lim-

ited to the ISADORA. There have been several other ideas, including one from the Tate in London. In or-der to fulfill their mission to extend access to British and internation-al modern and contemporary art, the Tate Trustees have determined that the next Tate site should be in space. In 2003, the ‘Tate in Space’ program invited three architecture firms to submit concepts for an art gallery in space. It also hosted a stu-dent competition around the same theme. The winning idea came from StudioCousins. Their idea is based on an undulating, dynamic gallery where art is viewed at the center of a spatially and temporally respon-sive space. Each of its 24 segments digitally records an hour in differ-ent locations around the globe.14 The visitors can float through the different segments and view the art in any orientation. The visitors can experience the Himalayas at dawn and the Amazon at dusk, one end of the gallery could be night and the other end could be day, depending on its location in orbit – or the seg-ment can be transparent for view-ing a particular Tate exhibition.

5.0 the future: Microcos-Mic getaWays by design

The walk through the real and utopi-an getaways in the above two sections demonstrate how and why getaways could potentially act as countermea-sures to human factor challenges on space missions. An analysis of their re-

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An imaginary flyer for a lunar surf-society anniversary event at the KOPERNIKUS bar.

ii

toWards a republic of the Moon

rob la frenais

Design often masquerades as art but in space design pumps out the techno. Rob Le Frenais, curator and critic, asks that we rethink our meta-phors by reviewing an artistic ap-proach to the Moon.

‘Earth is the cradle of humanity, but one cannot live in a cradle forever.’ – Konstantin Eduardovich Tsiolk-ovsky, 1911

‘Modern science says: The sun is the past, the earth is the present, the moon is the future.’ – Nikola Tesla, The Problem of Increasing Human Energy, 1900

How will we live on the Moon? It is likely that the first rehearsal for living on a planetary object out-side the Earth will not be Mars but the Moon. It is envisaged that soon, maybe in the next decade, a small outpost of humans and robots will be established, possibly living in tun-nels drilled under the Moon’s sur-face. But how have things changed since the US and Russian dash to the moon, ending in the 1969/71 moon landings? Society has changed con-siderably since the post-war military command structure that informed astronaut and cosmonaut selection and the way in which space agencies

approached their mission, with top-down control of the space explorers actions and information about them. A point of breakdown came with in-ternational crews sharing the Rus-sian-built MIR space station, well documented in ‘Dragonfly: NASA and the Crisis Aboard MIR’ (Bryan Burrough,1992).

In a recent International Astronau-tical Federation meeting in Paris in which issues of space governance were discussed, a UN official with an interest in the peaceful uses of space stated, ‘The last thing we want to pro-pose is a Republic of the Moon’. We wondered: why not? The notion of a ‘Republic of the Moon’ is symbolic of a paradigm shift about the way we approach human spaceflight today.

In what way have artists approached the moon in recent history? During the Apollo missions, there were two small, direct artist interventions on the Moon: ‘The Fallen Astronaut’ by Paul Van Hoeydonck and the secret ‘Moon Museum’ by Frosty Myers with works by Rauschenburg, War-hol and Oldenburg. There were also some spontaneous ‘artistic’ gestures by astronauts, such as family pho-tos wrapped in cellophane, shown in Michael Light’s blockbuster ‘Full Moon’ exhibition of lovingly digi-tally enhanced photographs selected from an extraordinary and largely unseen NASA archive. Apollo astro-naut Alan Bean, the fourth man to walk on the Moon, became an artist on his return to Earth and now de-

A matrix showing the relation between the getaways and human factor issues they address.

SaunaTearoomCupolaSculptureGreenhouseBarArt Studio

Psychologicalxxxxx

x

Socialxx

x

xx

Sensoryxx

xxxx

Spatial

xxxxxx

Work

x

Habitationx

x

x

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Dance experiments conducted by French dancer-chore-ographer Kitsou Dubois and her troupe on a parabolic

flight.

votes his life to painting scenes from his time on the moon.

Contemporary takes by artists on our relationship with the moon in-clude Aleksandra Mir’s performance work and film ‘First Woman on the Moon’ (titled in response to the sole-ly male Apollo missions) in which she organised a team of bulldozers to sculpt a vast, crater-strewn lunar surface on a Dutch beach. Then, in 2003, the performance artist Lau-rie Anderson became NASA’s first - and so far only - artist-in-residence. Being dismayed by the thought of moon bases prompted her to make the performance piece ‘The End of the Moon’. Added to this have been several conceptual works by artists recently appearing in the ‘Deceitful Moon’ exhibition at the Hayward Gallery Project Space, based on the conspiracy theory that the whole series of moon landings stretching over several years - was conducted in a film studio.

In 2011, anniversary of Yuri Ga-garin’s first flight into space, what can artists contribute to the first pro-posed real departure from the Earth for around 50 years? How do the new global players in space (China, Japan, India and Europe) see their role? Fi-nally, what will be the politics of the Moon? Will it simply be an extension of global politics, various outposts representing national interests simi-lar to Antarctica or will there indeed be be a transnational territory of the Moon?

A new metaphor is needed for the en-terprise of space exploration in op-position to the military philosophies that dominated Von Braun, Korolev and Kennedy’s Cold War space race. Artists will be the first to point the way, with contributions from space psychologists, architects and ethi-cists showing how we might live au-tonomously on the Moon.

iii

recipe: huMan factors and creW perforMance

irene lia schlacht

From the Space Station Design Work-shop 2009 at the Institute of Space Systems, Universitaet Stuttgart

Creating habitats on the lunar lan-scape is an emotional task. Irene Schlacht iterates several hints on how to make the consideration of human moods as core to the construction of any moon base.

1 Motivation and objective

The crew onboard the lunar base you are designing will live there for a prolonged period of time. They will constantly have to deal with high workloads, a risky technology-dom-inated environment and the effects of environmental conditions (such as gravity variation, stress, confine-ment and isolation). Therefore, as a designer, you need to take into ac-count all we know about human factors, for instance, topics ranging from an overall module configura-tion to the interior layout, and to crew time scheduling.

Your task is to make sure that your team’s moon base is designed in a way that is supportive of the hu-man presence, that is, providing an efficient working and living envi-ronment, and being able to increase

crew performance, well-being and mission accomplishment as a rich experience.

Many everyday habits, rituals and customs in space will be impossible. However, considering the capability of humankind to adjust its own ritu-alistic behavior in relation to unfa-miliar environments, new approach-es will develop. (For example, how will the meal ritual evolve in a 1/6-G environment? How will we sleep? How will we use the toilet? What so-cial play methods will be developed to increase crew motivation?)

Keywords: sustainability, flexibility-variability-adaptability, cognitive design strategies, holistic approach, local environment feature.

2 approach

To help you to meet the objective, here are some hints for your design:

- Habitability Aspects: A mental map of needs, cultural and place ex-perience, aesthetics, harmonies, at-mosphere (place spirit), and values.- Module Configuration Aspects: A pattern sketch of window locations, orientation towards Earth, access and egress paths, zoning and space distribution (activities, territoriality, walking-access path, visual field, pri-vacy, group activities, noise, odors). - Interior Design: A design sketch of lighting, colors, decors, ergonom-ics (moon walk), psycho- and physi-ological stress countermeasures, and

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The Moon Museum fits into the palm of a hand.

storage systems.- Operations and Scheduling: The conceptualization of crew divisions, work shifts, free time, private and group recreational activity (also as interior configuration facilities), and the duration of stay.- Social Structure: The conceptual-ization of crew composition-selec-tion, the onboard chain of command, jurisdiction, ground station contact and (psychological) support.- Life Support: Sketch and conceptu-alize food preparation (also as rec-reational activity), rescue, radiation shelters, contamination control, and noise and odor screens.

3 heuristics and design hints

Human factors must be considered both from an engineering point of view, for example, allowing for ap-plying specific numbers and siz-ing correlations. They must also be considered from an architectural perspective: allowing for a holistic approach that refers to issues not directly related to numerical values, but which is still greatly important for the quality and completeness of the overall system concept.

However, experiences from previous manned space programs, systems, and studies allow for the formula-tion of lessons learned in selected ar-eas. Some of these are summarized in the following table. Please use those as a guide where suitable, but carefully check their relevance and

applicability to your specific design.

4 results docuMentation

Document your design consider-ations, choices and justifications. Proposed ‘tangible results’ of your work as human factors team special-ists should include:- Maps of habitability requirements, such as needs analysis, Moon con-straints and environmental qualities (regolith, reduced weight, solar en-ergy, etc.)- Views and sketches of the station interior concept. Detail relevant as-pects.- Representations of zoning, com-munication and translation paths.- External views with emphasized human factor influences.- Crew schedules and on-board ac-tivity schedules. (Consolidate with the Operations team.)

Table 1. Heuristics and lessons learned for selected areas of human factors engineering (relative importance: A = most important, B = less important, C: least important).

ASPECT DESIGN RULES IMPORTANCE

Environment Allows the use of local environment features:- Solar energy and illumination.- Gravity reduction (possibility to jump, climb, move more weight, more flexibility for positioning pay loads).- Consider use of regolith.- Support Earth observation, astronomical observation and telecommunications (Earth provides reference for crew orientation (EVA)) because it is stationary in the lunar landscape).

- Habitability requirements increase with mission dura tion, risk, degrees of isolation and confinement.- Increase comfort, provide customizable elements of the environment.- Permit the crew to behave in ways that are innate to them to remove numerous minor stressors from their daily routine.

- Study redundant access and escape routes.- Design territoriality distribution, private/public ar eas.- Provide separate habitation areas.- Deliberately use architectural space inside the mod ules, instead of giving the crew whatever is leftover af ter fitting all hardware in.- Identify required degree of proximity of modules/ functions and their configuration.- Provide enough space for equipment in regular use.- Dinner/conferencing table and surrounding area must be large enough to accommodate entire crew.

- Check field of view and shading for payloads, crew pri vacy, communication.- Provide some long line-of-sight distances in a local ‘horizontal’ direction.- Cluster and isolate noisy equipment, bad odors, vibra tion, etc. far from habitation zone and in relation with the area function.

- Provide accessible windows for Earth/Space viewing.- Preferred window locations: conference/dining area, exercise area, quiet/recessed area.- Avoid windows in locations where crew must spend more than two hours each day due to radiation.

B

Habitability A

InteriorConfigurations

B

Perception

B

Windows

B

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vi

WindoWs to the World - doors to space - a reflec-tion on the psychology

and anthropology of space architecture

andreas vogler, jesper jør-gensen

An abridged version of the paper presented at Space: Science, Technol-ogy and the Arts (7th Workshop on Space and the Arts), 18-21 May 2004, ESA/ESTEC, Noordwijk, The Neth-erlands.

abstract

Living in a confined environment as a space habitat is a strain on nor-mal human life. Therefore designing a space habitat must take into con-sideration the importance of design, not only in its functional role, but also as a combination of function-ality, mental representation and its symbolic meaning, seen as a func-tion of its anthropological meaning. In architecture space-connection in-terfaces like doors and windows act like ‘sensory organs’ of the building. They allow inside-out communica-tion, but also are elements, which allow the user to control the flow of media, which is light, air (sound and odour), which are communication medias as well as radiation and other forms of energy. In this paper we will look at the psychological and archi-tectural meaning of these important architectural elements in relation to

their extended meaning and impor-tance in a space environment.

introduction

Many current space habitat designs are driven by the limitation of pres-surized volume and rocket dimen-sions. This often results in the com-plete neglect of the architectural and sociological zoning of the space hab-itat. As much professional care and detail is given into the engineering problem of having the spacecraft in orbit and keeping the humans alive, as much neglect is given to basic ar-chitectural and psychological issues, which, if known at the beginning of the design process, would even re-duce costs and could contribute to the development of space habitats which are more than inhabited ma-chines. Also, near future missions to the Moon or Mars will be tempo-rary. A human Mars mission must be designed on insights into how the human being lives best in a very ex-treme situation. Psychological fac-tors will be more important than ever in spaceflight. The well-selected individual military test pilot will be succeeded by an experienced scien-tist with a high social intelligence, allowing him to live and interact with other astronauts in a confined and isolated environment over a long time. Psychological factors, in recent years, have been increasingly important in preparation studies for a long-term planetary mission (CPA, Humex). In some studies, it is weighed as the most important factor. Simulation studies have sup-

CrewDynamics

Activities and Schedule

Privacy

- Design countermeasures for physical and emotional stressors, isolation and confinement (ex. Psychological support, gym).

- Interpersonal and leadership-acceptance problems, as well as problems between crew and ground support, increased with mission-elapsed time.- Establishing pre-misson relationships reduces crowd ing problems.- Consider crucial ‘everyday’ conflict issues: stowage, food, acoustics, trash management, inventory system, hygiene, distribute within the crew the ‘housekeeper’ functions.

- Design crew autonomy and teamwork into system for increased productivity.

- Available space and spatial arrangements can indicate or influence hierarchy; must therefore be congruent with actual hierarchy structures.

- Schedule frequent regular group – social – recreational activities (dinner, conferences, music listening) to keep morale and productivity high.- Provide marker events (holidays, celebrations) to structure long missions.

- Privacy issues are twofold: among crewmembers (pro vide opportunities for retreat as well as openness), and between crew and ground (avoid one-way surveil- lance)- Crew selection for agreeableness and flexibility should mitigate cross-cultural issues.- Provide secure channels, e.g. via encrypted e-mail, for personal communications of crew with family on ground.- Offer area for person-to-person meetings, with pri- vacy level.- Crowding is influenced by the flow of information be- tween people, through vision, hearing, smell, and touch. Mitigation of crowded conditions therefore means reducing signal strength- Ability for crewmembers to withdraw to private quar- ters is extremely important to mitigate effects of tran- sient negative moods on group morale.- Provide the means for crew to store personal items.

C

B

A

B

B

B

ASPECT DESIGN RULES IMPORTANCE

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ported this view, for example, the SFINKSS study in Moscow.

The connection of the human being with space is very profound. All our sensory organs are in constant rela-tion to the space around us. We put our own bodily dimensions into rela-tion to the space surrounding us, and such developing a sense for scale and proportion. We meet other people in space, which makes it social and com-municative. Philosopher Immanuel Kant, for the first time, relates space to the human being. Gauss goes even as far as denying the very existence of space outside our thinking. The existence of an outer world experi-enced in relation to our inner world occupied philosophers and artists alike. As space cannot be perceived without motion, and movement in space cannot be controlled without the brain, the development of the brain in evolution is closely con-nected to space. In sociology, space is divided into public, semi-public and private, which reflects our cyclic psy-chological need for these states of be-ing. Territorial behavior for the hu-man being is more than protecting the physical space; it is important for psychological health. Territorial con-trol by conquering common space to convert to personal space can be a way to gain control in the group. Packing common rooms with indi-vidual lab equipment could be a way to execute this type of control. The size and construction of this person-al space, which can be seen as intra-personal space, is both a mental and physical factor, and a variant from

individual to individual. Further-more, cultural systems have different normalities with regards to the size of personal space. (For example, this can be observed in the way we queue in different cultures. Some cultures queue very close to each other; oth-ers queue by keeping a distance of up to one meter between individuals.)

Architecture is the profession of cre-ating and structuring habitable spac-es. Architecture uses structural ele-ments to define and organize spaces, and to create a ‘place’. The education of the architect is deeply based on an understanding of the technology and function of space, as well as its psychology, sociology and mean-ing. It is also the profession which is organizing all of the consultants and specialists by design, at least on Earth. In the design of space habi-tats, so far this factor is poorly rec-ognized. Whereas the engineers de-signing habitats are often confused by the contradicting theories of e.g. psychologists and the multitude of options and ‘soft requirements’, the architect is, by its profession, very used to that. The architect has, next to technical expertise, a deep un-derstanding of ‘vagueness’, ‘blurred’ and the multiple meanings of inhab-ited spaces.

the architecture of inhab-ited spaces

Architecture is creating functional space, but as multi-layered and com-plex as the human being is, and as multi-layered and complex is func-

tional space. The architect is trained to consider, at every moment, the processes of physical, perceptible, psychological and sociological space. All of these layers constantly overlap; a change in one element of-ten involves a change in the whole system. Kenneth Rexroth describes ecology as the science of the togeth-erness of living things and their en-vironment.1 This was in 1963, when environmental sciences just started. Nevertheless the analogy evokes the complexity and interdependency of the space habitat. When we start thinking about space habitats in terms of ecologies, we may shift our systems thinking more towards the maintenance of active balances than trade-offs of mass budgets and hard versus soft requirements. An ecolog-ical system is as strong as its weakest element.

The human being is living in a bal-ance of privacy and community, which is always pushed and counter-acted. In most cultures, it still seams the most powerful punishment to deprive people from free movement and social contacts in space. Space is structured and has hierarchies. All cultures of the world have cre-ation myths when new houses are built or cities are founded. By a con-scious religious act, order in space is created. Man defines its position in the cosmos by symbolically re-creating the center of the world, by bringing order into chaos.2 Many of these rites survived, even in the ‘en-lightened’ Western culture, like the act of laying a foundation stone, of-

ten with documents inside it. Many cultures also place a strong emphasis in the orientation towards the east, where the light comes from, where the world is reborn every morning. Inhabiting a space is an act of tak-ing control. Home is the place, where one has the feeling of control over the environmental influences (like weather, temperature, wild animals, etc.) and the social influences (like strangers, visitors, friends, etc.). The act of taking control and the feeling of having control is directly linked to our psychological state of being.

It helps the architect as the organizer and designer of space to operate with the awareness that space has more than its three geometrical dimen-sions. The given technological reality is forcing space habitats to be near the extreme end of physiological space. Some space habitat designs tend to take this extremeness as an excuse to ‘ignore’ other layers completely. This is supported by the fact that human factor requirements are often con-sidered as ‘soft requirements’ as op-posed to the ‘hard requirements’ of life support systems and structural integrity. If there would be more in-terdisciplinary and integrated plan-ning teams, one would discover that soft requirements often do not cost extra in hardware but may prove to be indispensable in long-duration spaceflight. The authors suggest four main layers of space: 1) Physiological space as the spatial environment we need to physically survive, 2) Percep-tible space as how our senses interact with space, 3) Psychological space as

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perature expansion in the morn-ing. Changing everyday noises of-ten makes people realize potential problems in structure or machinery, which is an important safety aspect. Further audible privacy needs to be provided, for communication via audiovisual to one’s family (if possi-ble), but also for private discussions between crewmembers. If not, EVA suits and their radio system may be misused to do so.

Visual control of the space habitat seems to be the most obvious, and terrestrial architecture is rich in strategies to influence the perception of space by light, color and geome-try. Much can be done in making a small space appear bigger and wider. An important influence on visual control includes housekeeping dis-cipline and the organization of stor-age. A higher than usual design at-tention needs to be on surface and things we touch, like door handles. There should be a richness and clear hierarchy on hard and soft materials, on flat and structure surfaces.

psychological space

The psychological criterias for a hu-man habitat can be described as identity, stimulant and safety, which leaves the countercriterias of ano-nymity, boredom and anxiety.3 With-out active countermeasures, a space habitat fits perfectly with the coun-tercriteria. The space needs to allow for self-reflection and self-projection. There needs to be a visual order and clarity to allow for that. We know

from metal sickness, that unclear and messy spaces are counterproductive. Stimuli should be by changing con-ditions of light during the day and the occurrence of unexpected, but friendly things. The feeling of safety is a very critical issue, since, if once lost like through an accident in an early mission state, it is very difficult to re-establish it. To have the feeling of control in your habitat is a highly important component. The very act of ‘inhabiting’ space can be com-pared to taking control. In the early days of US spaceflight, astronauts had to fight for a window, which was considered an engineering risk fac-tor. The window and its connection to the outside world, after all, allows astronauts to position themselves in space and gives a feeling of control. Airlines have clearly understood the problem of giving away control in a potentially unsafe environment. With a careful interior design with indirect lighting, but also with the whole system of serving drinks and food, showing movies and caring with flight attendants, they create this feeling of identity, stimulants and safety in a environment, where one is handing over the complete control to somebody else.

sociological space

The individual need for privacy re-quires barriers and physical insula-tion as well as the need for together-ness, which requires correspondent and clearly defined spaces to create a secure feeling of home. The architect works with three zones, which are

how we project and reflect our inner self to the outside space and 4) So-ciological space as we define zones of privacy and community. All lay-ers overlap and find their expression in the eventually built environment and the way it will be inhabited.

physiological space

Physiological Space is the space to provide physical survival and the di-mensional needs for work and rest. It needs to provide structural integrity and protection against the environ-ment and maintain an interior en-vironment within a certain comfort box. The construction of space is driven by functional requirements, technological possibilities, costs and time, and the conceptual intention of the architect. The physiological, functional space height in most ter-restrial habitats is between 2.1-3 m, sometimes more to allow for air cir-culation and/or production machin-ery. This spatial layer can be subdi-vided into functional areas, which creates spatial sequences. The spaces have to be connected in a way to al-low for the transportation of equip-ment and escape routes.

perceptible space

The connection of the outer world to our inner world and vice versa happens by our senses: taste, smell, touch, vision, and hearing. The hu-man senses, as opposed to technical sensors, are guided by experience and culture; the way we perceive things is strongly dependent on our person-

ality, our cultural background and our psychological health. The range between acceptable and unaccept-able is fairly wide and the difference in the perception of noise and odor can already lead to tensions within a group. The main psychological prob-lem in long-duration spaceflight is sensory deprivation due to Re-stricted Environmental Stimulation (RES). A richness in the way the in-dividual can perceive spaces should be sought.

The most substantial exchange with our environment we have is via our sense of taste with food. Although different to the other four senses, with respect to the fact that taste is not in a direct relation with spa-tial perception, it has an important influence on the psyche, our inner space. It is reported especially from military observation how immedi-ately spirit-lifting good food is, even in the hardest situations. To control odor in the space habitat is very de-manding and puts a high demand on the tolerance of the inhabitants. Activations of senses could hap-pen with scents. Noise of the ECLSS machinery will govern every space habitat. There should be strategies developed, which allow to stop the machinery for limited amounts of time to go into a silent mode. This may be easier on surface habitats, than under microgravity conditions, where a natural airflow cannot be achieved. This would allow the crew to listen to the winds of Mars, but also to the low level noise like the cracking of the habitat through tem-

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public, semi-public and private. The private space has to be considered both as group-private or individu-al-private. The functions of physi-cal spaces can change and overlap during the day. The kitchen, which would be a public space in a space habitat, could become a group-pri-vate space, when two crewmembers hold a private conversation, which could be communicated to others outdoor by a lower voice. These bar-riers are not only physically defined but culturally: one with a ‘good edu-cation’, would not just intrude into the kitchen, but knock on the door or come again later.

Door and windows are very impor-tant elements in switching these spaces and communicating the social openness of the space. Much of the complexity of architectural spaces and the interaction of the elements has been brilliantly documented in the book ‘A Pattern Language’.4 Fig-ure 1 shows a diagram of the spatial organization of a habitat, which is identified as one of the patterns. In contrast, Figure 2 (courtesy of NASA) shows the current state of the Zvezda Module of the International Space Station, which is basically express-ing, next to the difficulty of keeping order in a microgravity environ-ment, the tremendous improvement possibilities, once the designers are thinking beyond pure mechanical spaces. The image also shows how the human being is just trying to inhabit the space. Notice the icon of Virgin Maria on top of the ‘door’.

Probably a layer in its own right is symbolic space, which describes meaning we perceive and give to spaces. ‘In our everyday life we ex-perience not solid and immediate facts but stereotypes of meaning. We are aware of much more than what we have ourselves experienced, and our experience itself is always indi-rect and always guided. The first rule for understanding the human condi-tion is that men live in secondhand worlds. The consciousness of men does not determinate their existence; nor does their existence determine their consciousness. Between the hu-man consciousness and material ex-istence stand communications and designs, patterns and values which influence decisively […]’5

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Fig. 1. Diagram from ‘A Pattern Lan-guage.’

Fig. 2. Zvezda Habitation Module on ISS.

privacy and coMMunity

‘Man creates his own environment … Create is hardly the word, so far as he has simply made it, in the sense we say; “Well, you’ve made your bed, now you have to lie in It.”‘6

Serge Chermayeff and Christopher Alexander describe, in their seminal work ‘Community and Privacy’, the need for filter zones between com-munal and private areas. These basic zones, where social behavior trans-lates into architecture, were seen in danger with the growing emphasis of functionalism and technology in modern architecture. The growth of the city population in the 1960s led to unpersonal ‘living machines’, which where denoted by monotony, boredom and anonymity. The ne-glection of basic zoning led to a fast decay of some large scale housing scheme like the famous Pruitt Igoe, which had to be destroyed after only sixteen years since crime and devas-tation took overhand.7

The human being has to be under-stood as being in a fruitful balance between community and privacy. The more lively this balance is, the better. Usually an architect would layout the private and communal rooms. The most important, but of-ten neglected, infact is the transi-tion between the two, the in-between zones. The hierarchy of the domains and the domains themselves need to be clearly supported by the design, as well they must not be intrusive.. To make the transition between pri-

vate and public, the astronaut should have maximum variation, choice and control. ‘We might therefore take as our general picture of the universe a system of continuity in which there are two elements, randomness and organization, disorder and order, if you like, alternating with each oth-er in such a fashion as to maintain continuity.’8

Most discussions of long-duration space missions tend to recommend private quarters for each astronaut. Harrison identifies three ‘functions’ of privacy: (1) undistracted work, (2) rest and recuperation, and (3) con-trol of self-image projected to oth-ers (‘getting off-stage’).9 Further, he identifies the need for group pri-vacy for intimate discussion, vent-ing emotions, and providing critical performance feedback. The need for privacy is counter-balanced by the need for community, for being with and interacting with other people. The interaction with people is an im-portant factor for emotional reassur-ance, for stimulants by discussion or unexpected action and sharing emo-tions.

considerations for the use and design of doors and

WindoWs in a space station or surface habitat

‘Space isn’t remote at all. It’s only an hour’s drive away if your car could go straight upwards.’ - Sir Fred Hoyle, ‘London Observer’, 1979

outside doors

The door is one of the most active architectural elements. It controls the connection between inside and outside. Technically, the door has to allow the connection of two dif-ferent environments, with mostly different conditions in temperature, air pressure, humidity and so on. But it also has to provide safety and protection from noise, visual pertru-sion, fire and people. The door is a place of control. Somebody controls the door to be opened or closed, to enter somebody else’s space. Like no other element, the door is associated to the protection of privacy. To enter a house or an apartment for inves-tigations, the police need an official inquest. Nearly each state is protect-ing the threshold between public and private by law. To be able to control a door, to control access to space, is one of the daily supports of self esteem and self-confidence. Not without reason, the human being invented prisons for punishement to exactely take that control away. This point is very important for long-duration missions and supports the idea of in-dividual crew quarters. The outside door in space will be a docking mod-ule (Fig. 5.) or an airlock, which both form new architectural archetypes of a spacefaring civilization. Next to their technical complexity, there will be new meanings associated to them. Fig. 4. shows Cosmonaut Valeriy V. Polyakov, who spend over a year on the MIR space station, during ren-dezvous operations with the Space Shuttle Discovery. This image evokes

the feelings of loneliness, joyful ex-pectation of community and togeth-erness, and the concept of ‘home’.

But the door is more than a ‘switch’ or a mere treshold, it is a space in its own right, a space of transition (Fig. 3.) and a ‘place’ of decision. It is the place, where you make the decision if you let somebody in or not; it is the place where you learn about another person. It is also a place saying good-bye to your hosts, wishing them fare-well. Many emotions about social interactions are connected to spatial thresholds, such as the door. At the door, the state of our life is chang-ing from what we have done before to what we will do in future. It is a transition from the past to the fu-ture. Not without reason, the Roman god Janus was the genius of the door. Further, the door is a space of activ-ity, of movement of potential social contacts. It is a well-known image that people sit in front of a door (Fig. 6.), especially in southern European countries, where the climate is more supportive. In this state, a person is on one hand protected by the private space in the house behind, which can be easily access in case of weather changes or social withdrawel. But, out of this position of security one takes part on the public life of the outside, where people pass and so-cial contact is possible. This very im-portant social state of being ‘semi-public’ can already be observed in the smallest habitats, like the Mars Arctic Research Station on Devon Is-land, which is an analog surface hab-itat. In an afternoon working period,

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Fig. 4. Cosmonaut Valeriy V. Polyakov, who spent more then a year on the Mir space sta-tion, looks out of the window during rendez-vous operations with the Space Shuttle Dis-

covery.

Fig. 3. The painting by Edward Hopper, ‘Room to the Sea’ is expressing the transition space of

the door, the way into the unknown.

Fig. 6. The person sitting in front of a door. An archetypal image.

Fig. 5. Welcoming new astronauts in the docking adapter. New spaces, same traditions.

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some of the crew members chose to set up their chairs in front of their open crew quarter doors (Fig. 7.). This position allows them to take part in the community, but also to retract into their crew quarter with-out causing major attention from the group, whereas somebody getting up from the table is causing more social attention. It is interesting to note, that already by the position in space, the state of ‘semi-public’ is commu-nicated to the others.

inside doors

The space habitat is a world of its own. When we go to space we have to take everything with us, starting with oxygen and water. What we also will take with us are patterns of behavior and our ability of giving things meaning. But this will also mean that we will interpret mean-ing into things. For the designer this means to allow as much meaning for the elements in a space habitat as possible. It has to be understood, that in a space habitat, the crew quarter door will also overtake functions and meanings of the outside door. It is an element of control and a signal of the degree of openness for community. The door can become a potential me-dia for unspoken communication, signaling the wish for privacy of the person in it. Undoubtely in a long-duration mission the crew will devel-op certain habits. This could be, for example, that at the beginning of a mission, crew quarter doors are gen-erally left open. If weeks later a crew member starts to close the door, this

may be interpreted as an offensive act against the group. On the other hand, in a situation where the group tends to maintain more privacy, a crew member leaving the door osten-tatiously open, may disturb others in their perceived privacy in the public and semi-public spaces.

Architecturally, doors and inner windows can strongly influence the appearance of the space. An appart-ment usually looks dramatically smaller if all doors are closed com-pared to when they are all open. The door has some ergonomical func-tional aspects. Can it be opened when carrying something (e.g. with elbow and foot) or do I need to have a hand free? Does it open and close au-tomatically? What states of openness does it allow? A quick study shown in Fig. 8. and Fig. 9 shows, that in the given case, a simple swing door pro-vides actually a higher state of visual privacy during different degrees of openness.

outside WindoWs

Different than the door, the window is a place of reflection and of projec-tion. Looking through a window, we are usually in the protected and controlled interior. From this com-fortable condition, we can look out, observe or just connect our inner self to the outside world. The window frames the view and makes it con-trollable. It is reported from many astronauts that they like to spend every free minute on the window gazing on the Earth. Astronauts who

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Fig. 7. The Mars Arctic Research Station. Four crew members are working independently on the upper deck in the late afternoon. Two of them choose the sit in front

of the open door of their crew quarter.

Fig. 8. Showing different opening states of a simple swing door and the visual connection.

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Fig. 10. Astronaut Helms enjoying Earth on-board the International Space Station.

Fig. 9. Astronauts looking out of the window of the Columbus module of the ISS.

Fig. 11. The window as a connec-tion to the outside world.

Fig. 12. A painting by Edward Hopper titled ‘Sun in a empty Window’.

Fig. 13. A painting by Edward Hopper titled ‘Morning in A City’.

had longer stays on space stations reported about how looking at the blue planet ‘connected’ them to their home (Fig. 9 and 10).

This important psychological role of the window is in stark contrast to the resistances against windows in spacecrafts. For the engineer, the window as a penetration of a pres-sure vessel is a structural problem. For the administrator, it is still today a cost problem. Tom Wolfe points out in his book ‘The Right Stuff’ how the first astronauts, who were main-ly military pilots, had to fight for windows.11 Even if a spacecraft was completely controlled from ground, pilots, who are used to control their flights, showed a strong resistance against ‘being shot up in a rocket like an ape’. But the window proved to be a live-saver on Apollo 13, when for a short time, the spacecraft had to be navigated by visual control through the window. Also, industrial de-signer Raymond Loewy reports how strongly he had to fight against the resistance from engineers to install windows in the first American Space Station Skylab.

The real window is a space, com-pared to the virtual window or the painting, which can also support self-reflection and self-projection. The frame and the amount of out-side seen is changing by movement. It is a place where people spend time, where they connect to the outside world. The image of the old person spending the day looking out of the window is a well-known archetype

(Fig. 11). The window also brings light into the house, thus reflecting the changing conditions from the outside in (Fig. 12). The painting by Edward Hopper titled ‘Morning in a City’ (Fig. 13) is also expressing how the window is an element which can connect privacy directly to the out-side. With the distance to the win-dow, there is a choice and different degrees of seeing and being seen.

On surface habitats, windows should be located in a way that they allow a 360 degree visual connection to the outside. They must allow a visual connection to the outside for an in-tuitive registration of the outside condition, the weather and the day-time. The incoming sunlight should enrich and change the appearance of the spaces during the day.

inside WindoWs

Windows are offering a connection to the outside world without the possibility for a physical connection as with a door. A window is a quiet place, contemplative, not an exposed through-space as a door. Although the few portholes in orbital space station were constantly used by as-tronauts to watch the Earth, gazing out of a spaceship which is on the passage to Mars can become very boring, or in case of rotating artifi-cal-gravity spacecraft, a visual chal-lenge. On a surface habitat, outside windows will be very important; nevertheless, the hermetic inside space can be enriched by introduc-ing ‘window’ connections between

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York: Doubleday & Company 1965).7 A. Von Hoffman, ‘Why They Built the Pruitt-Igoe Project?’. At: http://www.soc.iastate.edu/sapp/PruittIgoe.html (accessed May 10, 2004).8 J.Z. Young, ‘Doubt and Certainty in Science’, 1951; Reith Lectures, 1950.9 A. Harrison, ‘Spacefaring’, (University of Cali-fornia Press: Berkeley and Los Angeles 2001), pp. 87-88.10 At: http://www.etymonline.com/w3etym.htm.11 T. Wolfe, ‘The Right Stuff’ (New York: Ban-tam Books 1980).12 C.M. Adams, ‘Four Legs in the Morning: Is-sues in Crew-Quarter Design for Long-Dura-tion Space Facilities’ (SAE 981794), 28th Inter-national Conference on Environmental Systems (ICES), Danvers, Massachusetts, USA, 13-16 July 1998. Warrendale, Pennsylvania, USA: So-ciety of Automotive Engineers.

private space and public spaces. A window, which can be opened and shut for acoustic control and a blind for visual control, can give many possibility in a confined environ-ment. Constance Adams points out how this concept of crew quarter windows was introduced in a design improvement of NASA’s BIOPlex de-sign.12 Several other design improve-ments have been made to enhance this inbetween zone between public and private.

With such a window, a crew quarter could be orientated to the common room during day time. The window can have a shutter blocking light as well as signaling the state of privacy of the crew member. The very limited amount of available space is pressing for new ideas of how private zones can be secured, but how spaces can change – at least visually – to allow more space. Following this concept architecture, student Johannes Talhof developed, with the studio of Profes-sor Richard Horden at the Technical University in Munich, the concept of a revolving workstation, which either can be operated from inside the crew quarter in a fairly private condition, or alternatively during daytime, it can be turned by 90 de-grees to allow a comfortable working condition between the private and public space, reflecting exactly the behavior of the crew in the Mars Arc-tic Research Station shown in Fig. 7.

conclusion

The investigation into such simple architectural elements, like the door and window, from a more architec-tural and integrated view point than a pure technical aspect, unveils how closely connected spatial elements are to human behavior and the active support of the balance of the ‘eco-logical’ system of the habitat. Spaces have to be planned for choice, flex-ibility, but also more so for privacy and the feeling of control by the in-dividual. It is important that this rel-evance is known at a very early state of the design process, whereby the basic layout of a space habitat, many opportunities for a cost-effective im-provement can be given away. Still today, the ‘experts’ are integrated – if at all – too late in the design process. The architecture of a space habitat requires an interdisciplinary design approach, which means theintegra-tion of the findings of psychology, sociology as well as ergonomics and life support engineering.

1 K. Rexroth, ‘Foreword’ for S. Chermayeff, Ch. Alexander, ‘Community and Privacy’ (New York: Doubleday & Company 1965).2 M. Eliade, ‘Das Heilige und das Profane’, Kap8. ‘Die Erschaffung der Welt übernehmen’, engl. ‘The Sacred and the Profane: The Nature of Religion’ (Frankfurt a.M.: Suhrkamp 1990).3 R. Weichinger, W. Schulz, G. Graefe, ‘Krite-rien der Wohnungsgestaltung’ (Vienna: Forsc-hungsarbeit für das Bundesministerium für Bauten und Technik 1973), p. 575.4 Ch. Alexander, S. Ishikawa, M. Silverstein, ‘A Pattern Language’ (New York: Oxford Univer-sity Press 1977).5 C.W. Mills, ‘The Man in the Middle in Design and Human Problems’, 1958.6 K.Rexroth, ‘Foreword’ for S. Chermayeff, Ch. Alexander, ‘Community and Privacy’ (New

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cal vertical for each living and work-ing area within a space module.

2. Absence of fixed horizon and its accompanying foreground and background cues can be expected to degrade extravehicular perception of object shape, distance, location and relative motion.

[...]

e. Light Flashes - The perception of light flashes has been reported by many crew members during peri-ods of darkness at specific orbital locations. The cause is thought to be cosmic rays and/or heavy-particle radiation traversing the head or eyes and triggering a neural response that results in these perceptions.

[...]

4.4.2.1

a. Decreased Sensitivity - There are frequently reported problems with nasal congestion while living in the microgravity environment.b. Adverse Effects - Unpleasant odors have been associated with a number of medical symptoms including nau-sea, sinus congestion, headaches, and coughing. Such odors also con-tribute to general annoyance.c. Microgravity Odors - Because par-ticulate matter does not settle out in a weightless environment, odor problems in a space habitat may be more severe than under similar Earth conditions. Circulation and

filtering will influence the extent of the problem.d. Visual Cues and Odors - Re-sponses to odors can be accentuated by the presence of visual cues. This increased responsiveness applies to pleasant and unpleasant odors and is something that a designer could po-tentially put to good use.

[...]

4.4.2.2

Generally there is a decrement in the sense of taste in microgravity. This is probably caused by the upward shift of body fluids and accompanying na-sal congestion. Reports indicate that food judged to be adequately sea-soned prior to flight tasted bland in space. Given the important role that food is likely to play in maintain-ing morale on extended space mis-sions, attention should be paid to this problem.

[...]

4.5.2.1

Spatial disorientation is experienced by some crewmembers and should be considered in the design of hardware and the planning of missions.a. Spatial Disorientation - Responses include postural and movement illu-sions and vertigo. For example, sta-tionary crewmembers may feel that they are tumbling or spinning. These illusions occur with the eyes open or closed.

extracurricular activity

anthropoMetrics

The following are exerpts from the Man-Systems Integration Standards (NASA). This information relates to the design for people ‘in good health, fully adult in physical development, and an average age of 40 years’.

The information generally relates to experiences in O- and 1-Gravity, thus, adaptions for 1/6-Gravity on the Moon must also be considered.

[...]

Radius of fingertip reach boundary

[...]

section 4

Light in Space - Differences in light transmission and reflectance in space result in some significant dif-ferences in available perceptual cues in the extra-vehicular environment as compared to earth atmosphere.

1. Light Scatter - Atmospheric light scatter does not exist in space due to the lack of particulate and gas-eous material. Thus, aerial perspec-tive cues are absent. Figure-ground contrast is increased and shadows appear darker and more clearly de-fined. Loss of these cues along with other environmental consequenc-es discussed below can degrade perception of object shape, dis-tance, location and relative motion.

[...]

4.2.2

absence of other earth cues:

1. Absence of a Fixed Vertical Ori-entation - Recognition of familiar objects, faces, and areas (e.g., work-station) is poor when viewed from an orientation significantly different from the established vertical. The viewer must be oriented within ap-proximately 45 degrees of this verti-cal to perceive the surroundings in a relatively normal fashion. This fact argues for the establishment of a lo-

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SOURCES Man-Systems Integration Standards (NASA)

http://msis.jsc.nasa.gov/

Human Integration Design Handbook (NASA)http://ston.jsc.nasa.gov/collections/TRS/_

techrep/SP-2010-3407.pdf

95th percentile male 195 cm5th percentile female 150 cm

level to do work at the table top level. It is also difficult to bend forward as this requires significant effort by the abdominal muscles. It is difficult to stand erect or sit in an upright (1-G) manner.

[...] Fluid shifts occur that redistribute body fluids toward the upper body. This is due to the lack of gravity ef-fects that normally distribute the fluids toward the lower body. The most visible effect of fluid shift is seen in the face and neck. The face becomes swollen and the veins in the forehead and neck appear distended.

[...]

section 5

7.2.4.2 Sleep Design Considerations

[...]

c. Sleep/Work Cycle - The following factors must be considered about sleep/work cycles:

1. Personnel exposed to changes in environmental cues will show dis-rupted circadian rhythms.

2. Circadian rhythms significantly af-fect a wide variety of human functions in addition to sleep, including psycho-motor and cognitive performance, mood, and social adaptability.

3. Careful planning of activity sched-ules, sleep/wake schedules, and arti-ficial control of environmental cues may be necessary to offset the pos-sible negative impact of circadian desynchronization on crew perfor-mance and adjustment.

4. Sleep periods should be proceeded by at least 1 hour of nondemanding mental activity.

[...]

c. Duration - Some crewmembers may experience spatial disorientation for the first 2 to 4 days of a mission.

[...]

4.6.1

Kinesthesia is the sense mediated by end organs located in muscles, tendons, and joints, and stimulated by body movements and tensions. Present knowledge of kinesthetic changes occurring when one enters microgravity is limited to estimation of mass and limb position sense.

[...]

a. Calcium Loss - One of the biggest concerns during long-term micro-gravity exposure is the calcium loss from the bones. During the Skylab missions, this loss was not excessive. The Soviets indicate that the rate of calcium loss slows after four or five months. Calcium loss (which is simi-lar to osteoporosis and is referred to as bone mass loss or bone demineral-ization) will limit the length of time crewmembers can remain in micro-gravity. At this time dietary mineral supplements are not known to be ef-fective in preventing bone mass loss.b. Fluid Shifts, Skeletal Changes, and Muscle Mass Loss - Other physi-ological effects are due to fluid shifts and decompression of the spine. The muscle mass of the lower body and, in particular the calves, becomes

smaller due to disuse atrophy. Exer-cise can help reduce this tendency.

[...]

The body length increases due to spi-nal lengthening and straightening. The discs between the vertebrae ex-pand (similar to what happens when sleeping) but do not recompress because of the lack of gravitational compression forces. There is also an upward shift of the internal organs causing a reduced waist measure-ment. These considerations should be taken into account when sizing space clothing.

There is a microgravity neutral body posture that results from a balanc-ing of muscular forces acting on the various body joints in the weight-less environment. This neutral body posture causes some peculiar per-formance effects. For example, it is difficult to work at waist level as is done on Earth as the arms must be continually forced down to the waist

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sixty-ninesixty-eight

honeyMoonThe first month after marriage; the holiday taken after the wedding

ceremony.

MoonA secondary planet, or satellite, revolving about any member of the solar system; as, the moons of Jupiter or

Saturn.

Moon aroundTo be idle in a dreamy

way.

MoonboWA rainbow caused by the refraction of light

from the Moon.

MooncakesA Chinese pastry, com-monly with a red bean

paste filling.

Moon childSomeone born under the

zodiac sign of Cancer.

MoondustFine dry particles of the

Moon’s soil.

Moon gateA circular gateway in a wall (in Chinese Archi-

tecture).

MoonieA member of the Uni-

fication Church.

MooningTo expose one’s naked

buttocks.

MoonishCapricious.

MoonlessLacking the light of the

Moon.

MoonletA small natural or arti-

ficial satellite.

MoonlightingTo work an additional job at night (after your

fulltime job).

MoonlikeResembling the shape

of the Moon.

MoonlitIlluminated by the

Moon.

MoonquakeA seismic event on the

Moon.

MoonriseThe rising of the Moon

above the horizon.

MoonscapeThe surface of the Moon as seen or as depicted; also a landscape resem-

bling this surface.

MoonsetThe descent of the Moon

below the horizon.

MoonshineLiquor smuggled or il-

licitly distilled.

MoonshotThe act of launching a spacecraft to the Moon.

MoonstoneA nearly pellucid vari-ety of feldspar, showing pearly or opaline reflec-tions from within. It is used as a gem. The best specimens come from

Ceylon.

MoonstruckMentally affected or de-ranged by the supposed influence of the Moon;

lunatic.

MoonWalkTo dance by gliding backwards while ap-pearing to make for-ward walking motions toward the Moon.

Moonface Having a round face.

The famous Australian tv star Bert Newton is affectionately known as Moonface.

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The Moon Life Handbook is produced to accompany the Moon Academy held between April 19-24 in Amsterdam, the Netherlands, for Moon Life.

Moon Life is a project by Alicia Framis in association with Archis, ArtHubAsia, ESA, NAi and SMART Project Space.

The Moon Life Handbook is an initiative of Archis and printed by De Stencilkelder in Amsterdam. Conceived - Moon LifeMaterialized - Timothy Moore and Céline WoutersCover - Janneke RaaphorstMoon Life logo - Edhv

The Moon Life Handbook wish to specifically thank the speakers for their con-tributions to the handbook and the Moon Academy.

For future information on Moon Life please contact Project Manager Noura Habbab at:

Moon Life Officec/o SMART Project SpaceArie Biemondstraat 1111054 PD AmsterdamTel: +31 (0)20 427 59 51noura@moon-life.org

This handbook is made for educational purposes only. If you claim ownership of any of the content presented here and have not been properly identified, please contact Archis via www.archis.org and we will be happy to make a for-mal acknowledgement. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any mean, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. © Alicia Framis, the contributors and Archis. This handbook was made with the generous financial support of the Nether-lands Foundation for Visual Arts, Design and Architecture.

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