Who is the bionic style suitable for in the interior? Bionic style - inspiration from nature in the interior. Features of the items used

Bionic style

Bionics- This is enough new direction in interior design. It is based on a close connection with nature and the latest achievements of technology. The development of this design direction began when alternative energy sources were actively introduced, ecological building materials, and also contributed to global urbanization. Main the rule of bionics is the extremely powerful relationship between form and function in the environment.

Having reached its peak of popularity in the 70s of the last century, now bionics captivates connoisseurs ecodesign.

This style will especially appeal to those who adore nature and want to feel harmonious in their own home. Strange as it may seem, but bionics is both progressive and the most natural style. Its characteristic features are smooth lines and massiveness. interior items, and all textures and decorative elements are displayed with the harmony and grace that we are accustomed to seeing in living nature.

Forget about zoning space or clear transition between different decorative elements, for bionics this is absolutely not acceptable. The main thing is to adhere to harmony, a sense of integrity and continuity of all living things. Do you want your home to acquire clear signs of this style? Then try to make your room simple and natural, flexible and expressive.

However, you also need to achieve maximum functionality and practicality without using a large amount of resources. Not everyone can really do this, so often those who choose for themselves bionics, can not decorate the room yourself, because it requires really large-scale and practical thinking. Bionics are characterized by light colors, which are extremely popular this season, as well as glossy, mirror and transparent textures. Similar natural ornaments and perforations are also used to reduce the weight of the structure. Light is extremely important in this style. There should be a lot of it, because it is the light that correctly emphasizes space and shape. Built-in lights are an ideal option for bionics! If you like to amaze your friends and acquaintances with originality and uniqueness, then bionics– this is your style! In fact, just as in nature nothing is the same, so this style will distinguish your home from hundreds of gray and ordinary living boxes.

bionics photo

Bionics is a style that can safely be called a kind of fairy tale for adults. Why? Yes, because buildings made in the bionic style are absolutely amazing and unique, and architects are inspired by living nature. The most striking use of natural forms was manifested in the magnificent creations created by the greatest architect Antonio Gaudi (Casa Batllo, Casa Mila, Park Güell and others).

Such a concept as bionics arose at the beginning of the last century, but finally formed into an independent style in the 70s. In bionics, it means living, which means that it is the surrounding nature that prompts architects and designers with original ideas when creating the most comfortable living environment for humans. Analogy with living nature, rounded corners, smooth natural lines, natural shades, natural materials, lightness of form - these are the main features of the bionic style.
There are many examples when engineers, designers, and architects took living structures as a basis in their projects, and bionic structures are scattered all over the world. This is the Opera House in Sydney, the Cypress House in Shanghai, the SONY skyscraper in Japan and many others. A building made in the bionic style also exists in Russia. This is the “Dolphin House” located in St. Petersburg by architect Boris Levinzon.

Due to the fact that nature is more perfect and safe, compared to the technologies that mankind has invented, bionics allows you to create not only organic, environmentally friendly and reliable structures, but also significantly save energy and materials.

A house built in the bionic style does not have a traditional geometric shape. It is more reminiscent of some kind of model of living nature. The soft curved lines of windows and walls flow smoothly into each other. This creates a certain feeling that the house is moving and not frozen in place. It is this feeling, when movement and complete peace are present at the same time, that is distinctive feature house built in bionic style. The appearance and interior depend on the viewing angle, and change subtly when it changes.
When building and decorating a house, architects and designers must take into account that bionics does not provide for the interchangeability of individual rooms. Each room has its own purpose, and the task of style is to reveal it most fully. In addition, comfort is important and should be maximum.

In general, in bionics, the kitchen is just a kitchen, and there is a living room for receiving guests. They sleep in the bedroom, not work, and so on. Lighting plays an important role in a bionic interior. The house should be filled with light. Lamps and accessories are also made in the bionic style. Colored glass is often used, giving the house a fabulous look, although such houses themselves look quite unusual.

Subject and concept of bionics.

Bionics (from the Greek βίον - element of life, literally - living) is an applied science about the application in technical devices and systems of the principles of organization, properties, functions and structures of living nature, that is, forms of living things in nature and their industrial analogues.

Architectural and construction bionics

Architectural and construction bionics studies the laws of formation and structure formation of living tissues, analyzes the structural systems of living organisms on the principle of saving material, energy and ensuring reliability. Neurobionics studies the functioning of the brain and explores the mechanisms of memory. The sensory organs of animals and the internal mechanisms of reaction to the environment in both animals and plants are being intensively studied.

A striking example of architectural bionics is a complete analogy between the structure of cereal stems and modern high-rise buildings. Stems cereal plants able to withstand heavy loads without breaking under the weight of the inflorescence. If the wind bends them to the ground, they quickly restore their vertical position. What's the secret? It turns out that their structure is similar to the design of modern high-rise factory pipes - one of the latest achievements of engineering. Both structures are hollow inside. The sclerenchyma strands of the plant stem act as longitudinal reinforcement. The internodes (nodes?) of the stems are rings of rigidity.

There are oval vertical voids along the walls of the stem. The pipe walls have the same design solution. The role of a spiral reinforcement placed at the outside of the pipe in the stem of cereal plants is played by a thin skin. However, the engineers came to their constructive solution on their own, without “looking” into nature. The identity of the structure was revealed later. In recent years, bionics has confirmed that most human inventions have already been “patented” by nature. Such 20th-century inventions as zippers and Velcro fasteners were made based on the structure of a bird's feather. Feather beards of various orders, equipped with hooks, provide reliable grip.

Famous Spanish architects M. R. Cervera and J. Ploz, active adherents of bionics, began researching “dynamic structures” in 1985, and in 1991 they organized the “Society for Supporting Innovation in Architecture.” A group under their leadership, which included architects, engineers, designers, biologists and psychologists, developed the “Vertical Bionic Tower City” project. In 15 years, a tower city should appear in Shanghai (according to scientists, in 20 years the population of Shanghai could reach 30 million people). The tower city is designed for 100 thousand people, the project is based on the “principle of wood construction”.

The city tower will have the shape of a cypress tree with a height of 1228 m with a girth at the base of 133 by 100 m, and at the widest point 166 by 133 m. The tower will have 300 floors, and they will be located in 12 vertical blocks of 80 floors each (12 x 80 = 960; 960!=300). Between the blocks there are floor ties that play a role load-bearing structure for each level-quarter. Inside the blocks there are houses of different heights with vertical gardens. This elaborate design is similar to the structure of the branches and entire crown of the cypress tree. The tower will stand on a pile foundation according to the accordion principle, which is not buried, but develops in all directions as it gains height - similar to how it develops root system tree. Wind fluctuations on the upper floors are minimized: air easily passes through the tower structure. To cover the tower, a special plastic material will be used that imitates the porous surface of leather. If construction is successful, it is planned to build several more such building-cities.

In architectural and construction bionics great attention is devoted to new construction technologies. For example, in the field of development of efficient and waste-free construction technologies, a promising direction is the creation of layered structures. The idea is borrowed from deep-sea mollusks. Their durable shells, such as those of the widespread abalone, consist of alternating hard and soft plates. When a hard plate cracks, the deformation is absorbed by the soft layer and the crack does not go further. This technology can also be used to cover cars.

Development of bionics in architecture

The very concept of bionics appeared at the beginning of the twentieth century. What does it mean?
In architecture textbooks you would read that Bionics (from the Greek biōn - element of life, literally - living) is a science bordering biology and technology, solving engineering problems based on an analysis of the structure and vital activity of organisms.

Simply put, if you remember Leonardo da Vinci, who tried to build aircraft with flapping wings like birds, then you will immediately imagine what the bionic style is.

The first attempts to use natural forms in construction were made by Antonio Gaudi. And it was a breakthrough! Park Güell, or as they used to say “Nature frozen in stone”, Casa Batlo, Casa Mila - Europe, spoiled by architectural delights, and the whole world have never seen anything like it. These masterpieces of the great master gave impetus to the development of architecture in the bionic style. In 1921, bionic ideas were reflected in the construction of Rudolf Steiner's Goetheanum, and from that moment on, architects all over the world adopted bionics.

From the time of the Goetheanum to the present day, a large number of individual buildings and entire cities have been built in the bionic style.

Today, the modern embodiment of organic architecture can be seen in Shanghai - the Cypress House, in the Netherlands - the NMB Bank board building, Australia - the Sydney Opera House, Montreal - the World Exhibition Complex building, Japan - the SONY skyscraper and the Fruit Museum.

Recently, bionic architecture can be seen in Russia.

In 2003, in St. Petersburg, according to the designs of the architect Boris Levinzon, the “Dolphin House” was built and the hall of the famous Medi-Aesthetic clinic was decorated.
Perception of bionic space

What is a bionic style building? The first impression of a building in a bionic style is that the buildings stand out of correct geometry. The natural shapes of the object awaken the imagination. In bionics, walls are like living membranes. Plastic and extended walls and windows reveal the load force directed from top to bottom and the resistance force of the materials counteracting it. Thanks to the rhythmic play of the changing concave and convex surfaces of the walls of the buildings, it seems that the building is breathing. Here the wall is no longer just a partition; it lives like an organism.

The Great Antonio Gaudi was right when he said that “An architect should not give up colors, but, on the contrary, use them to give life to shapes and volumes. Color is the complement of form and the most vibrant manifestation of life.” Just imagine, entering an organic building, you feel immersed in a wonderful world filled with transparent light. Color creates a special world of the interior, reviving and revealing materials that are visible under a layer of paint. Color lives and moves according to its own laws. It seems that it influences the strengthening or weakening of the functions of the building and space.

In the bionic structure, thanks to the constantly changing balance of the interaction of desires and spatial possibilities, a person experiences a feeling of movement in peace, and peace in the movement of space. The slightest movement shifts the balance of power, thereby changing the perception of space. Constancy and change, symmetry and asymmetry, protected intimacy and wide openness exist in a delicate balance. Z Please note that both in movement and at rest there is always a feeling of balance.

In its essence, bionics, as an architectural style, strives to create a spatial environment that would, with its entire atmosphere, stimulate exactly the function of the building or room for which the latter are intended. In a bionic house, the bedroom will be a bedroom, the living room will be a living room, and the kitchen will be a kitchen.

Bionics and its place in modern architecture

Any living creature is a perfectly regulated operating system that is adapted to its environment. The survivability of such systems is the result of long evolution. By revealing the secrets of the structure of living organisms, it is possible to realize new possibilities in architecture. Over time, a need arose to create a special direction of science, the essence of which boils down to finding and studying the secrets of the successful adaptation of living beings. Bionics became such a direction, combining the knowledge of both biology and technology. Bionics is designed to solve engineering and technical problems based on the results of studies of living organisms.

Let's consider several biological structures used in architecture:

Spider web is an unusually economical and lightweight mesh material.
Honeycombs and beeswax.
Ant's nest. The construction principle is reminiscent of houses built by people.
Soft washcloth. Its design is ideal for creating both durable and complex structures, which, for example, can be used as large containers for transporting oil or water.
Living cell membrane. The double interlacing of fatty compounds enveloping a living cell is used in micro-architecture.

Bionics in architecture is not just the curvature of outlines and forms, which is like a bird's shell, mollusk shells, honeycombs or branches of a forest thicket. First of all, architectural bionics are comfortable, harmonious, reliable structures for humans. The technology of architectural bionics combines both the abstract and the very concrete - the laws of mathematics. It creates the preconditions for the synthesis of art and science.

Bionics in your home.

The exact style we choose for our dacha or home depends only on our imagination, as well as financial capabilities. Bionics has proven that architecture is not just rebar and bricks. Anyone can use bionics inventions in their home or garden.

The interior of the room can use lighting fixtures and furniture, the forms of which are borrowed from nature itself. These elements, by the way, can be made independently. The scope for your imagination will be provided by a competent choice of stairs (both internal and external). They can be of any shape (for example, spiral), from combined materials.

When choosing building materials for your home, it is much better to give preference not only to those that are very durable, but also to those that retain heat better. This move guarantees energy savings on air conditioners and heaters.

The landscape on the site can easily be made very original. To do this, focus on the elements that already exist: branches, stones, cracks and other components. Using your imagination, you can create a beautiful alpine slide(this is a structure made of stones and certain vegetation that is inherent in the high alpine climate).

And if there is a large and old tree on the site, do not rush to cut it down. It can be used, for example, as a bar for drinks or as a gazebo for relaxation. There is no need for air conditioning here, since even in hot weather, wood reduces the temperature to approximately 22 degrees (in middle lane Russia).

Experience has shown that the potential of unexplored secrets of nature is enormous. Don’t be afraid to study them, don’t protect yourself too much from nature with the walls of houses, destroying nature.

Bionic style houses

The rapid development of technology at the turn of the 20th and 21st centuries left its mark in all spheres of human life, without exception, including art. But, as it turned out, no Hi-tech cannot replace the magic of nature for humans. And after a working week spent in a room equipped with the latest technology, we are happy to turn off our computers and phones to enjoy communication with nature.

Orchid house in the UK - bionics

Nature is always relevant - and that is why, next to functionalism, high-tech and constructivism, the so-called organic architecture, or bionics, appears.

Bionics is a science at the intersection of biology and technology. Organic architecture solves engineering problems based on knowledge about living organisms.

The essence of organics is easier to understand if we recall Leonardo da Vinci’s ideas about a flying machine with wings like birds.

The first sign of the style was the work of Antonio Gaudi, who showed “nature frozen in stone.” Gaudí's ideas were popularized by Rudolf Steiner Goetheanum, after which organics became popular throughout the world.

Sydney Opera House - organic architecture

The first impression of organic architecture is amazement: the right geometric shapes can't be found here. Plastic walls resemble the membranes of living organisms. It is believed that it is the organic style of architecture that balances symmetry and asymmetry, intimacy and openness, constancy and change. Architecture follows the laws of nature. The shapes are mostly irregular and dynamic. Each architectural form, like a plant, develops according to its own laws.

Organic genius Ken Kello emphasizes architecture's connection to the earth. “Box-shaped” forms, as if cut out of cardboard, are alien to the earth. Buildings should be like silk, softly covering the surface of the earth. The architect's goal is to skillfully and naturally fit the structure into the landscape.

Excellent examples of organic architecture include the NMB Bank building in the Netherlands, the Cypress House in Shanghai, the Sydney Opera House in Montreal, the SONY skyscraper in Japan, the Dolphin House in Russia and many others.

]]> http://1-rs.com/article/organika-bionika-v-arhitekture.html ]]>
]]> http://www.archidom.net/news/a-9.html ]]>
]]>

INTRODUCTION

In modern art and design there is a wide variety of techniques and ways of expressing the author's idea.

Pre-design analysis - the stage of searching for analogies and creative sources that can inspire an artist or designer to create a new work - is determined by the scientific, philosophical and associative-figurative foundations of each direction in art and design, as well as its individual positions.

Wildlife occupies a special place and role among the areas of searching for analogies and creative sources.

Throughout history, man, in his activities, consciously or intuitively turned to living nature, which helped him solve a variety of problems.

The basis of the borrowing method in architecture was the principle of imitation of nature. To protect himself from bad weather, at the dawn of civilization, man created clothing for himself from plant leaves, grass, and animal skins, thereby not distinguishing himself or contrasting himself with the nature around him.

The most important task in the problem of establishing connections between the processes of living nature and objects of human activity is the choice of the level of study of these relationships.

This level could be the consideration of the artificial environment created by man and living nature as integral, dynamically developing information systems.

Nature's ability for endless variations and renewals is based on the complex structure of relationships between its objects and their ability to isolate their own niche in this structure, which is in unity with the rest of the environment.

The fact that objects of inanimate nature can reproduce, store and process information in the process of their interaction with objects of living nature gives grounds to consider the process of bionic formation as objective and natural.

For design in general, the possession of such information is very important, since not only knowledge about the surrounding reality is increased, but also a universal language for processing information is formed in order to obtain bionic models of shape formation.

USE OF NATURAL MOTIF IN GRAPHIC DESIGN

Stylization and modeling of natural images in design. Throughout history, man has strived to comprehend the laws of nature, since the beauty and harmony that reigned in it captivated the minds of artists, scientists, and musicians.

The best works created by humanity, to one degree or another, reveal the essence of life. Artists made significant contributions to art at the turn of the 19th and 20th centuries.

Nature became for them the ideological inspirer of bold experiments in the technical transformation of its images into masterpieces of world fine art.

The desire of artists to get closer, at least for a moment, to the source that reveals the secrets of beauty and life on Earth, turns them to continuous experimentation and an active, creative attitude towards everything that surrounds it. The 20th century is especially rich in examples of experimentation by artists who discovered new directions in art.

Nature becomes not only a source and subject of copying, but sometimes also an active participant in a work of art. A person living in a world of rapid changes and great discoveries, global disasters and triumphant “victories” over nature needs a different language artistic expression and visual interpretation of complex life concepts and categories.

Shape, color, texture, rhythm, association, sensation, emotion, etc. the properties of the natural world underlie the works of the twentieth-century artists cited in this chapter. By carefully examining each work, I hope that many will be able to understand much more about nature and the essence of things than by directly enjoying its beauties.

Any object of nature and the artificial environment (design objects) can be characterized in terms of two main categories that determine its visual essence - shape and color.

It is no coincidence that precisely these characteristics of an object (phenomenon) became the subject of experimentation by artists of the 20th century.

To understand the nature of shape formation, color perception, to find other ways to express one’s own (or socially-oriented) thoughts and attitude to ongoing events in the life of a state or planet - these were the questions that artists tried to answer at the turn of two centuries. Therefore, the mediator in the visual expression of global ideas is often natural objects, which have no equal in their ability to evolve, modify and modernize their own properties.

The main method of biodesign is the method of structural and functional analogies of living nature and the design object. When it comes to the specifics of a graphic designer’s work with a natural form, the ability to stylize the external form and the ability to adapt it to the laws of type display, graphic sign or symbol comes to the fore. Therefore, the work of a graphic designer with natural analogues does not consist in mechanical copying, but in finding methods and methods for graphic modeling of biological forms.

In the alphabet, as in natural form, the main thing is the constructive and compositional grouping of its elements, their rhythm. We are talking specifically about individual groups (elements, modules) within the whole organism. In nature there are enough examples of various accents of compositional structure in the overall order, which formed the basis of the alphabets of many nations.

At the dawn of writing, people made detailed sketches of all varieties of the natural world, then, using characteristic silhouette or form-building lines, analyzed the natural form, developing a graphic language of communication. Borrowing images from living nature in order to use their images to convey information, he deliberately chose those natural forms that evoke certain associations, feelings, and aesthetic emotions in most people. In addition, natural prototypes gave the topographic sign the necessary imagery and emotionality.

The civilizations of the ancient world were quite inventive when it came to writing methods. The first inscriptions were sketches of familiar objects - pictograms, which turned into symbols, sometimes only vaguely similar to the original drawings. Thus, the stylized image of a buffalo loses its original outline, turning into an abstract symbol of Mesopotamian cuneiform. Egyptian hieroglyphs for the word “buffalo” consisted of a pictographic image and a phonetic symbol “ka” in the form of hands. In China during the Shang Dynasty, the word “buffalo” was written with its image. With the advent of the writing brush, realistic images were simplified and eventually reduced to straight lines (Fig. 1).

Fig.1

art graphic design natural

The writing of the early historical period consisted of specific images of animals, plants, that is, those personalities discussed in the letter. As a result of the acceleration of writing, these images were simplified and gradually turned into abstract signs corresponding to individual words, then syllables and, finally, individual sounds.

In an ancient Russian handwritten book you can see the bend of a wing, the tread of an animal, the interweaving of roots, the meanders of a river, the contours of two twins - the sun and the heart. These letters sing, chirp, growl, fly, jump, and speak in a human voice. They have not yet become book typographic serial characters. Each letter is individual, unique, just as each leaf on the tree of life or fish in the water is unique.

Ornament is one of the oldest types of human visual activity, containing symbolic and magical meaning, iconicity and semantic essence. In the early stages of the emergence of ornament, images of nature, “sacred” plants and animals, were decoded by artists into geometric signs, symbolizing and preserving all the properties and qualities of the prototype, which man worshiped (feared, etc.). Subsequently, the “natural” geometric pattern was combined with conventionally realistic plant and animalistic (animal) patterns.

The ancient Chinese deified nature, the animal and plant worlds and, according to their ideas, transferred into ornamentation characteristic patterns that convey divine images. Thus, according to the Chinese, cicadas foreshadowed the harvest; bamboo stems represented perseverance and wisdom; wild plum (meihua) - true friendship; peach is a symbol of immortality; the pomegranate fruit indicated numerous offspring; peony flowers symbolized nobility and wealth; green pine clinging to rocks with its roots - longevity and resistance to life's troubles; the bull and ram promised people satiety and wealth.

In Japan, as in China, motifs and ornamental elements always carry a secret meaning or symbolism. For example, the crane (tsuru) is a symbol of prosperity, good luck and long life; birds, butterflies and moths, especially those sitting on flowers, spoke of love experiences and wishes for happiness; radish (daikon) - a symbol of strength and power; orange - procreation; lotus - chastity; cherry (sakura) - tenderness; bamboo - perseverance and courage; a mandarin duck on a rock under a tree is a symbol of marital happiness and fidelity. The falling cherry blossom petals in the spring reminded the Japanese of the fragility and variability of our lives, and the long-blooming chrysanthemums reminded the Japanese of longevity. At the beginning of the 17th century, the motif of blooming peonies was especially popular - a symbol of a noble, noble, famous person. Some flowers and natural phenomena symbolize the seasons among the Japanese: plum flowers in the snow - winter, cherry blossoms, camellia, willow tree, foggy haze - spring, peony, cuckoo, cicadas - summer, and chrysanthemum, scarlet maple leaves, deer , moon - autumn. The symbol of imperial power in Japan is a stylized chrysanthemum flower with six petals arranged in a circle. He personified the Sun, illuminating Japan - the Land of the Rising Sun.

The high demands of production at all times have determined the priority development of applied areas of graphic art aimed at solving problems associated with advertising and trade in industrial products. In particular, the experience gained in the field of industrial graphics has proven invaluable in a highly competitive market for goods and services. A trademark, as one of the main types of graphic design, becomes a kind of protector of property interests, as well as a kind of symbol of “memorability” of a certain product or enterprise. It is no coincidence that the use of natural images as a “guarantor” of high properties of goods and quality of services is a common example of graphic stylization of their forms when creating a trademark of an enterprise (Fig. 2). The natural symbol plays an important role in forming a “positive” image of the enterprise and its products among the consumer.

In the case of using a natural prototype, a trademark is a work of graphic art that carries not only accurate plastic and laconic figurative information about the enterprise and product, but also a certain level of stylization of the natural object, symbolizing in its form or function the specifics of a particular enterprise. Since a trademark is created, as a rule, once and for the entire period of operation of the enterprise, the graphic and figurative stylization of a natural analogue, leaving in the minds of people the deep origins of the evolutionary development of the natural world and its inhabitants, meets the high requirements of the competitiveness and stability of such an enterprise in the goods market and services.

Rice. 2 Trademark of FSUE "Roslesinforg"

Essentially, a trademark ancient invention humanity. Its appearance is due to the development of commodity-money relations and industrial production. Even in Ancient Egypt and Rome, a mark was placed on goods, which was a kind of author’s signature, which later became known as a trademark and only from the end of the 19th century - a trademark.

Only a truly correctly found “natural” image of a sign, carrying information about the enterprise and product, is remembered forever, or at least for a long time. One of the principles of graphic expression of the content of a trademark is based on associative symbols of nature. For example, since ancient times, people have treated the Sun, the source of life on Earth, with special awe and reverence. Accordingly, the image of the Sun in its various manifestations (disk, rays, etc.) on the trademark is a symbol of the success of the enterprise and the high quality of its products.

A trademark is a closed form in its semantic, artistic and graphic meaning. That is why the sign must have a special continuity of image and font. The influence of a natural image on the choice of name and on the plasticity of the font in the logo and trademark of an enterprise largely determines the individuality and imagery expressed by means of graphics.

In natural forms, the main thing is the constructive and compositional grouping of elements, their rhythm. We are talking specifically about compositionally emphasized condensations - individual groups within the whole organism. There are enough examples of a variety of accents of the compositional structure in the overall orderliness, which can be used as a starting point when designing trademarks.

Each natural form has its own unique features. The design of many trademarks is a derivative of an empirical study of the logic of the structure of structural forms of nature: leaves, shells, nut shells, corn cobs, etc. If we take as an object for study a natural analogue with a pronounced character, volume and design, with an elementarily simple form , then almost immediately they are able to assess its integrity, which will help to achieve the imagery and plastic expression of the trademark faster and with less time. If the form of a natural analogue consists of many complexly organized elements, then the associative signal obtained during its perception may not immediately have such a clear character. But in the course of careful analysis, selection, comparisons, the sign manifests itself and achieves its full sound.

Bionics in graphic design is both science and art, it is analysis and synthesis, the search for an original and new solution. The study of the forms of living nature feeds the imagination of designers, provides material and helps solve the problem of harmony of functional and aesthetic principles, enriching the formal means of harmonization with the search for the most expressive proportions, rhythm, symmetry, asymmetry, etc. The designer makes detailed sketches of a natural sample, then analyzes the natural form using form-building lines, axial lines and division lines, and only then develops a graphic sample. Thus, the study of natural forms is a prerequisite for the improvement of trademarks.

In general, the aesthetics of the forms of trademarks is closely related to utilitarian principles, and in nature the close connection between function and form is perceived as a special aesthetic property of living nature. Borrowing images from living nature, the designer at the same time takes natural forms that evoke certain aesthetic emotions in most people. Natural forms give the sign a specific character. The specificity of the living forms that have found their application in the brand name sets these signs apart from others.

Intuition plays a special role when working with natural analogues. Intuition helps the designer complete his task much faster than if he always acts based only on rational methods. True, decisions suggested by intuition require careful scientific and practical verification, nevertheless, their significance is very great.

Objects created by the designer must be understandable and aesthetically “in demand” by the vast majority of consumers of the product, if we are talking about purchase-sale relationships, and must also carry not the individual, author’s view of the designer (customer), but generalized experience, the totality of the understood and accepted position of the target audience of visual communication participants (consumers). In this case, the form, content, and choice of pictorial motif cannot be random - this is a selection and symbolic stylization of peculiar “signs” of communication. The pre-design stage of creating a design object largely determines its subsequent “success”, since the designer’s professionalism lies in the ability to adapt his own preferences and associations to “collective” ones.

The main task of any advertising is to influence the recipient in one way or another, forming a certain image of the object in his mind, affirming its exclusivity, creating a conviction of its necessity. The specificity of graphic advertising is that in order to achieve the desired result, advertising products (products) must first of all be seen by the consumer and then perceived in a given way or purchased.

When developing a packaging design, a graphic composition of a label, or an advertising slogan, the designer must be sure that the design object will be noticed among the mass of similar products. Involuntary attention lingers on a striking object that stands out from the general rhythmic, plastic or figurative-associative palette of design developments. The consumer’s attention should be focused at least for a few moments or seconds, which will allow the object to be highlighted from the rest of the offers, to fix and preserve its appearance, and at most for a time sufficient to create a desire to purchase it. The task will be completed to the end if the consumer of the product believes that he needs this particular product, endowed with all the qualities that elevate it above the products of competitors.

• 1. attract attention;
• 2. arouse interest;
• 3. promote the desire to purchase the product;
• 4. create confidence in the need to purchase;
• 5. motivate a potential buyer to take specific actions.

This formula was accepted as an axiom by advertisers in all countries and to this day serves as the basis for creating advertising. In modern studies, it is found, as a rule, in an abbreviated version, without the fourth point: AIDA - attention, interest, desire, action.

So, advertising, as a means of communication between the consumer and the producer of goods and services, occupies one of the leading places in the graphic design system. The priority of a direction based on commercialization and market conditions of relations in society also determines the choice of “priority” topics that increase the level of these relations. Like a trademark, a poster (political or social), product packaging acts as a kind of symbol of a real object (event), designed to remain in people’s memory for a certain time. Geometric structuring and modeling of natural analogies in this case is the most effective from the point of view of figurative expressiveness and functional expediency.

The assimilation of natural forms and the laws of their development into technology is nothing more than a concrete and practical manifestation of the path of knowledge, from living contemplation to abstract thinking and from it to practice - this is the dialectical path of knowledge of truth, knowledge of objective reality. Cybernetics not only established a connection between the living world, technology and social processes, but also gave new material on the study of the life activity of organisms and the functioning of machines.

Bionics is a creative science in the full sense, promoting the active transformation of nature and the creation of a new, artificial environment in the likeness of living nature, but only in the aspect of human tasks. If, for example, in natural science, morphology studies the forms of living nature, in anatomy - the internal structure of organs, in biochemistry - chemical processes occurring in living organisms, then bionics studies all factors relating to living organisms, with varying degrees of detail determined by the design object, its functions and purpose. Technical bionics is ultimately aimed at creating ready-made things - physical models of natural prototypes. The concepts of “biological object”, often used in technical bionics, and “wildlife” often have an equal or similar meaning in their functional task. The concept of “biological object” to a certain extent specifies the concept of “wildlife”.

Scientists and testing practitioners of the 19th century, simultaneously with the practical search for optimal shape formation, carried out a scientific search for the dependencies between the shape and movement of high-speed machines. Scientific interest to form-building in technology arose at the turn of the 19th and 20th centuries almost simultaneously in different countries. The study of the forms of nature was inextricably linked with the development of aeronautics, in which the need to achieve high speeds especially acutely raised the question of the feasibility and optimality of the design form of the aircraft. It is observation of nature that gives researchers many new ideas. Take, for example, the falcon, a small bird that weighs no more than 200 grams and flies at the speed of a Ferrari. Its aerodynamics in flight are simply unique - this is a model for “copying” when creating aircraft of the future.

Aircraft and technical innovations based on the study of mechanics and movement of elements of “living” structures were known back in Ancient Greece. For example, the “flying dove” of Archytas of Tarentum dates back to the 5th - 4th centuries. BC. The throne of Emperor Theophilus with moving figures of lions, griffins and birds was built in the 9th century by Leo the Mathematician. In the 18th century, the famous mechanics J. Vaucanson, father and son Drozy, Malliarde became famous, who created many mechanical animals and people who played an outstanding role in the development of technology.

Rationalistic philosophy, with its mechanistic ideas and the transfer of the laws of mechanics to living nature, revived in technology the process of transferring motor principles and forms from living organisms to technical objects. The basis for such judgments can be considered that nature has created the most perfect mechanisms in the animal world, embodied in the same perfect forms: the bird has been given a beautiful flying apparatus in the form of wings, and the fish has been given a swimming apparatus - a tail and fins. One has only to artificially construct the same organs and equip a person with them, or make machines that copy living beings, and a person will begin to fly and swim with their help. The tempting and apparent ease of the problem led to the emergence of a number of machine designs based on borrowing the shape of animals. This borrowing is especially evident in flying machine projects. It seemed that it was enough to reproduce the mechanism of movement of bird wings - and the aircraft would be created. But the level of science and technology was such that this idea could not be realized, because it was based on purely external, superficial observation, limited perception of external form and very far from calculating the relationship between the weight of a bird and the lifting force of its wings and from creating an adequate engine.

The mechanistic system of man's worldview contributed to an increase in attempts to create flying machines, many of which were very ingenious. Sometimes mechanics pursued the sacramental idea of ​​​​creating artificial life, something akin to the alchemists' search for the philosopher's stone. But, unlike alchemists, mechanics were far from mystical ideas. One thing is certain - man has always strived to reproduce the capabilities of birds and animals and, at least with the help of artificial devices, to become like them.

Similar technical analogies were already encountered during the Renaissance. Suffice it to recall the creations of Leonardo da Vinci. Artificial flight was a dream that constantly occupied his imagination. He worked on its solution for about twenty-five years, approaching it, as well as his other tasks, guided by a certain rule, which sounds like a motto for everything he did: “Although human ingenuity is capable of inventing many things, yet it will never create an object more beautiful, simple and correct than nature creates, because in her inventions there is nothing superfluous, nothing missing, and nothing can be added or taken away.” Unfortunately, the secret of the driving force remained forever hidden from him. His painstaking efforts to imitate the flight of birds were largely limited to constructing machines. In it, a person lying on his back had to move the wings with his hands. He drew the design of a machine with a pair of pedals and a spherical body.

Rice. 3

His design of a pyramidal parachute is extremely successful. The model of a spiral propeller is also of greatest interest to modern aeronaut engineers (Fig. 3). Leonardo da Vinci borrowed the very idea from the design of toys. However, many scientists believe that Leonardo da Vinci invented the helicopter (helicopter), an aircraft with flapping wings like a bird - a macholet, or ornithopter, driven by human muscle power - the first version of the modern propeller.

An outstanding contribution to the creation of the aircraft was made in 1876 by the captain of the Russian navy A.F. Mozhaisky, who created a flying model of an airplane with a clock spring as an engine (Fig. 4). Having studied the structure of the wings of different species of birds and the conditions of their flight, in particular in soaring mode, having studied the laws of air resistance to the movement of bodies theoretically and with the help of the device he created, A. Mozhaisky realized the futility of the idea of ​​“flapping wings” that was dominant at that time.

Rice. 4

Early experiments by aviation pioneer O. Lilienthal in the early 1890s showed that concave wings produced more lift than straight wings. This circumstance was noticed by many scientists, including N.E. Zhukovsky. He followed with interest the experiments of O. Lilienthal, who made more than 2,500 flights on gliders, noticing the significant role the shape of the wings plays during flight. In his 1891 work “On the Soaring of Birds,” he had already suggested that the possibility of bodies soaring in the air was directly related to their shape. This idea sounded even more clearly in the speech of N.E. Zhukovsky at the X Congress of Naturalists and Doctors in 1898. At the beginning of the century N.E. Zhukovsky began a series of experiments on the movement of bodies in the air.

NOT. Zhukovsky began researching the theory of aircraft wings in 1904. The experiments were related to the search for the shape of the wing. NOT. Zhukovsky came up with the idea of ​​rounding polygonal contours, “wing skeletons”. Rounding a straight line segment gives the so-called “Zhukovsky rudder”; rounding an arc of a circle gives the inversion of a parabola. These profiles are usually called “Zhukovsky profiles” in the literature. In 1911, he established two classes of theoretical airfoils and proved that a curved airfoil shape was more efficient than a flat plate. Merit of N.E. Zhukovsky is that he made a deep analysis of the general principles of the functioning of artificial and natural systems. He established mathematical analogies between various phenomena, including between the functions of animals and technical devices.

The use of forms and images of living nature in jewelry is quite legitimate. In his creative activity, a person turns to living nature for help, especially in those cases when it is necessary to create a product that decorates his appearance or serves as a talisman against misfortunes and troubles. The first jewelry was made from bone, shells and feathers, that is, those materials that represented an “aesthetic” image of nature and were able to decorate the appearance of a person. Analyzing a natural object, a jeweler strives to comprehend its plasticity and tectonics, understanding that no matter how complex its shape may be, it cannot be considered as a random combination of volumes and textures.

Jewelry is part of the sphere of activity of any people and thereby characterizes its religious views, aesthetic ideals, spiritual horizons and historical stages in the development of material culture and art. Through centuries and eras, visual subjects and processing techniques have reached us. natural materials, traditions and styles of jewelry. The earliest jewelry appeared in the Paleolithic era, as evidenced by the discovery of sea shells with holes that were used as pendants. Beads, pendants, earrings and bracelets began to be produced in the Neolithic era not only from sea shells, but mainly from stones, clay, and animal bones. During Ancient Greece(from 1100 BC) geometrically stylized forms of nature predominate in jewelry. In ancient Egypt, the Sun was a symbol of immortality (dying every night, the Sun is reborn with a new sunrise). Since the ancient Egyptians worshiped gods who symbolized the Sun, the god Ra and his son Horus, their images were based on stylized forms of the Sun itself - the shape of a circle. So the round Egyptian necklace symbolized the Sun. All Renaissance jewelry is distinguished by the figurative expressiveness of the natural prototype, a certain amount of allegory in the choice of the “main character”, embodied in gold, pearls or colored enamel.

The variety of natural forms of development gave jewelers inspiring ideas with their shapes (sprouts, buds, ears, pods, blossoming and fading flowers) and color, colorfully drawing cycles according to the seasons. An expressive palette of raw greens, refined pinks, lilacs, and lavender tones was accentuated by rich red aniline dyes or purple flowers, evoking spring or summer. Thus, the design of E. Schiaparelli’s buttons was sometimes made in a surreal manner and therefore accurately copied not only the shape, but also the tactile sensations of contact with insects. Butterfly buttons or caterpillar buttons serve more as a decorative trim, an decoration for a jacket or dress that is simple in cut and laconic in color, rather than as a functional necessity for a fastener.

Jewelry designs from the late 1950s. in the form of birds, fish, and mammals was also in great demand, but at the same time, flowers and leaves remained the main motifs.

At the turn of the 20th and 21st centuries, jewelry design was still characterized by various borrowings of natural forms. This can be seen in the examples of various jewelry companies, such as Scavia, Recacrlo, Bvlgari, Chopard, Morgan, Ponte Vecchio Gioilli, Damiani and many others.

By conducting a structural analysis of a natural analogue and stylizing its silhouette, the designer can consistently construct the desired form of jewelry. Graphic analysis allows us to summarize and identify the main trajectories of the three-dimensional form of a natural prototype, which will subsequently find their continuation in jewelry (Fig. 5).

Rice. 5

CONCLUSION

The problem of interaction between methods of shaping nature and artificial systems is one of the most exciting, eternal problems facing man. It is no coincidence that such categories of antiquity as measure, proportionality, proportions, based on the study of the laws of organization of natural forms, were confirmed and developed in the history of modern science and art. In addition, the study of the patterns of morphogenesis in nature made it possible to draw important conclusions. First of all, in the course of bionic research it was established that living nature in any of its manifestations repeats itself in its own kind. Thus, in the process of becoming a viable structural organization, the method of storing information is contained in the principle of similarity. Just as in nature geometric similarity manifests itself as a general principle of spatial organization of living structures, so the structure of visual perception is subject to the general principle of similarity: vision decodes spatial images of nature using the principles of proportionality and geometric similarity. At the same time, the principle of geometric similarity establishes similarities and differences when assessing the spatial organization of objects of perception in living and inanimate nature.

Objective data of modern science form a model of the work of consciousness, consistent with reality and allowing us to understand how the techniques of shaping architecture and design characteristic of living nature historically arose and were consolidated.

BIBLIOGRAPHY

• 1. Belko T.V. Nature. Art. Design: monograph. - Tolyatti: PVGUS, 2008.
• 2. Belko T.V., Kozlova T.V. The costume and the natural principles of its formation. - M.: Clothing industry, No. 5, 1997. - P. 14-15.
• 3. Belko T.V., Kozlova T.V. Suit: bionic principles of shaping: a tutorial. - Togliatti: publishing house PVGUS, 2008
• 4. Volkova V.V. Advertising design. - M.: “Book House “University”, 1999.
• 5. Zhukovsky N.E. About the soaring of birds.//Full. collection op. - M., L., 1977, vol. 5, - P.7-35.
• 6. Lebedev Yu.S. Architectural bionics. - M.: Stroyizdat, 1990, - 269 p.
• 7. Leonardo da Vinci. Anatomy. Notes and drawings. - M.: Nauka, 1975, - 586 p.
• 8. Otto F., Helmske I. Shells and spatial designs in nature and architecture. // Modern architecture. - 1983, No. 4, - P.3-8.
• 9. Wallace R. The World of Leonardo. -M.: Terra, 1997.
• 10. Tsygankova E.G. At the origins of design. - M.: Nauka, 1977.
• 11. Shestakov V.P. Harmony as an aesthetic category. The doctrine of harmony in the history of aesthetic thought. - M., 1993, - P.15-16.
• 12. Shevelev I.Sh. Vector integrity logic. - Kostroma: Di Ar, 1997.
• 13. Shmelev I.P., Shevelev I.Sh. and others. Golden ratio. - M.: Art, 1990.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Non-state educational institution of higher professional education

Eastern Economic and Legal Humanitarian Academy

Direction 072500.62 Design

Profile - Environmental Design

COURSE WORK

Bionics as a modern design direction. The feasibility of bioforms in architectural design

Introduction

Chapter 1. Bionics as a modern design direction

1.1 Bionics as a science

1.2 Bionics and design

Conclusions to Chapter 1

Chapter 2. The feasibility of bioforms in architectural design

2.1 Architectural bionics

2.2 Prospects for the use of bioforms in architectural design

Conclusions to Chapter 2

Conclusion

References

Application

Introduction

Relevance research on the topic “Bionics as a modern design direction. The expediency of bioforms in architectural design" is due to the fact that bionics, as an applied science that studies the use in technical devices and principles of organization various systems properties and functions of natural objects Babitsky A. Bionics in architecture [Electronic resource], has become widespread today not only in the development of technical knowledge, but also in the field of design, especially the design of the architectural environment.

In architectural design, bionics has taken the position of a promising direction, opening up broad horizons for solving various architectural problems with the help of patents of living nature. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 8. . Bionics is capable of solving issues of efficiency, rationality and environmental friendliness of technical development, therefore, despite the fact that this science arose more than half a century ago, research in this area is still relevant and practically necessary for the work of a modern designer.

Purpose The work is a study of bionics as a modern design direction and the feasibility of bioforms in architectural design.

1. consider the modern understanding of bionics as a science;

2. explore the role of bionics in design;

3. study, based on existing research, the relationship between bionics and architecture;

4. determine the practical feasibility of using bioforms in modern architectural design.

The goals and objectives of the work determined its structure. The course work consists of an introduction, two chapters, a conclusion and a list of references.

An object research - design.

Item research - application of bionics in architectural design.

Scientific development: there is not much literature on the topic of research, at least accessible to the researcher, and it is mainly of a popular nature.

The joint work of the team of authors edited by Yu.S. is important. Lebedev “Architectural bionics”, as well as the works of Kreizmer L.P., Sochivko V.P., Martek V., Litinetsky I.B., which have become classics.

In recent years, a number of articles have appeared on websites and in periodicals devoted to design and architecture: Babaev A.I., Babitsky A., Bochkarev D.N., Belko T.V., Zabolotnaya A., Kozlov D., Postnikova O. , Sidorin A.M. Sosunova I. A.

There are textbooks on design and architecture in connection with bionics: Mazurina T.A., Maslov V.N.

It is important to note the works of young researchers: Arkhipova A.A., Kononova Yu.A., Lebedeva T.V., Mikerchuk A.Yu., Levina E.K., Suvorova A.I.

Practical significance This work is to summarize the available information about the use of bionics in design, including architectural design, and to develop practical knowledge that can be used in the work of a designer.

Chapter 1. Bionics as a modern design direction

1.1 Bionics as a science

Bionics as an interdisciplinary scientific direction arose in the 60s of the twentieth century at the intersection of biology and technical sciences and became one of the most striking manifestations of the general trend in the development of science in the second half of the twentieth century, when, along with the continuing differentiation of sciences, interdisciplinary areas of research began to appear and develop Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 8. .

Currently uniform definition bionics as a science does not exist Suvorova A.I. The role of the course “Introduction to Practical Bionics” in the preparation of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource]. This is due to the relatively recent emergence of this field of research.

The term “bionics”, proposed by the American scientist Jack Steele, was adopted at the First Symposium on Bionics, held in Daytona (USA) in 1960. Bionics was the name given to applied science, “the efforts of which are aimed at studying biological systems and processes occurring in living nature, and for their creative use in technology” Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 16. . The slogan of the symposium was the words: “Living prototypes are the key to new technology,” and the emblem of bionics at the same time became the image of a scalpel and a soldering iron, united by the sign of the integral of A.I. Suvorov. The role of the course “Introduction to Practical Bionics” in the preparation of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource].

The discussion of the concept of “bionics”, as well as the definition of the subject of research of this science, was given attention at the 1st International Conference “BIONICS-75” in Varna (Bulgaria) Suvorova A.I. The role of the course “Introduction to Practical Bionics” in the preparation of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource] and a number of other scientific events.

As a result, the subject of bionics was defined as an applied science: “the study of the structure and functioning of biological objects of varying complexity- from cells to living organisms and their populations in order to create new, more advanced technical devices and synthesize biotechnical complexes that optimally use the properties of biological and technical elements, combined into a single functional system purposeful behavior" Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 12. .

It should be noted that the terms “biomimetics” and “biomimicry” by A.I. Suvorov are used as a synonym for the term “bionics” in Western literature. The role of the course “Introduction to Practical Bionics” in the preparation of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource].

Thus, bionics can be defined as an applied science that studies biological systems with the aim of using them in technology. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 11. or as “the science of systems, the characteristics of which are close to the characteristics of living systems” Kreizmer L.P., Sochivko V.P. Bionics. Architectural bionics - M.: "Energy", 1968. - 112 p. P. 8. .

The importance of bionics as an applied science cannot be overestimated, this is evidenced by the fact that it is bionics that humanity owes the emergence of such great achievements of science as the optical lens, chemical sources of electricity, the law of conservation and transformation of energy, the fundamentals of aerodynamics, the principles of echolocation Martek V. Bionics / Ed. N.P. Naumova. - M.: Publishing House "Mir", 1967. - 143 p. pp. 7-10. . Man received the greatest opportunities for the development of science and technology: he was able to rise into the air, see space, and then rise into it, he was able to descend to great depths and exist in the conditions of the far north, and much more.

In the context of modern development of scientific knowledge, the bionic approach helps to increase the efficiency of the economy through the introduction of high-tech industries, through the expansion of the raw material base of industry, through the synthesis of new organic materials and the emergence of new technical capabilities (for example, robotics). Bionics is extremely important in the field of improving and preserving the environmental situation on the planet. The importance of this science in medicine is invaluable, for example, in the field of organ prosthetics or in the field of preserving human health in conditions of its existence in space, in the far north, in deep-sea conditions. Architectural bionics /Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. pp. 8-10; Kreizmer L.P., Sochivko V.P. Bionics. Architectural bionics - M.: "Energy", 1968. - 112 p. P. 8. .

Bionics, having a close connection with technology, belongs to the exact sciences, but it is not at all alien to art. Using optimal solutions for biological structures, bionics influences the shape of the created structure, thereby forming a synthesis of science and art. Kononova Yu.A., Lebedeva T.V., Mikerchuk A. Bionics borrows from nature not only function, but also form, which allows the use of achievements bionics in design.

1.2 Bionics and design

The bionic direction in design occupies a strong place and is one of the most promising ways of design development.

Biodesign allows scientists to obtain extraordinary solutions, identify new functional features and transformation of the design, provides the opportunity to see the prospects for the synthesis of function and aesthetic form, use interesting shapes and textures, transformation techniques, unusual shapes, harmonious color combinations of Suvorova A.I. The role of the course “Introduction to Practical Bionics” in the preparation of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource].

It is important to note that despite the relatively recent development of the bionic trend in design, the use of the laws of the formation of living nature for visual and decorative purposes was characteristic in all periods of the development of fine art. An example of this can be the columns of Egyptian and Greek buildings (Fig. 1), figurative and artistic techniques of shaping Russian churches, creating harmony with living nature (Fig. 2), constructive and decorative solutions Art Nouveau style Architectural bionics /Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 24. .

Art Nouveau, which was widely developed in Russia at the end of the 19th and beginning of the 20th centuries, widely uses forms borrowed from living nature. One of the many examples is the own house of the architect F.F. Lumberg in St. Petersburg (Fig. 3). The curvilinearity and softness characteristic of the plant world can be seen in window openings of various shapes, in the fencing of balconies, canopies, in the roof fence, from which metal flowers on curved legs “sprout.” In an effort to overcome the prosaically stereotypical structure of an apartment building, Lumberg was able to express one of the key ideas of early modernism: the spontaneous, irregular self-development of architectural form under the influence internal forces full of vital energy. The mobility and plasticity of the inseparable parts of the composition, the unpredictability of their variations and mutual transitions seem to be a visible metaphor for organic growth, living variability and renewal. Own house of the architect F. F. Lumberg // Citywalls. Architectural site of St. Petersburg [Electronic resource]. URL: http://www.citywalls.ru/house968.html?s=5driblptvu7sp9m44apju5dt92 (December 25, 2015). .

Widespread appeal to the forms of living nature was not only an unconscious imitation, but a deliberate action. For example, even the Roman architect Marcus Vitruvius (1st century AD) in his treatise “Ten Books on Architecture” suggests that architects, for the effective construction of buildings in certain climatic conditions, explore means of adapting living organisms to the area where they live Architectural bionics / Lebedev YU. .

In the process of development of fine art and architecture, the borrowing of forms of living nature took place, often this borrowing was and is today exclusively mechanical, leading to a chaotic variety of forms produced by the design of Kuznetsova G.N. Principles of interaction between structural shaping and visual ecology in environmental design // Aftoref. diss. PhD in Arts M., 2006. [Electronic resource]. Against the background of such a process, the most important issue in the use of bionics in design has become the question of shape formation - the interaction of form and function: it is necessary to find such a form that it most fully ensures the functioning of the object. The highest harmony of form and function is shown to us by living nature Architectural bionics / Lebedev Yu. S. et al. - M.: Stroyizdat, 1990. - 269 p. P. 70. .

To achieve the goal of harmonizing form and function, an environmental approach seems important. A person, forming the space of life around himself, creates a “second nature” - an environment that must interact with living nature, in which case it will be as effective as possible.

Environmental design is concerned with ideas about the appearance, style or figurative characteristics of an environmental object or environment. Illustrated dictionary-reference book. - M.: “Architecture - S”, 2004. - 288 p. P. 30., which interacts with bionics to the greatest extent among other types of design.

An environmental approach to design should be based on the designer’s understanding of the environment as a cumulative place of concentration of all-pervasive fields: light, acoustic, gravitational, information, as well as biofields that form ultrastructures that react to any material objects built into them Kuznetsova G. N. Principles of interaction between structural shaping and visual ecology in environmental design // Aftoref. diss. PhD in Arts M., 2006. [Electronic resource].

The highest form of environmental design is the design of the architectural environment Design. Illustrated dictionary-reference book. - M.: “Architecture - S”, 2004. - 288 p. P. 31. . Architectural design is the art of designing a subject-spatial environment, with the goal of optimizing functional processes human life Design. Illustrated dictionary-reference book. - M.: “Architecture - S”, 2004. - 288 p. P. 27., as a type of design, it is associated with the formulation and solution of a special type of design problems, and is distinguished by the integrated use of means of the spatial environment Design. Illustrated dictionary-reference book. - M.: “Architecture - S”, 2004. - 288 p. P. 27. One of the important and promising directions architectural design was the use of bionic methods to create a subject-spatial environment.

Conclusions to Chapter 1

In accordance with the stated goal and objectives in the first chapter of the study, the author focused on considering the concept of bionics, and then defined the relationship of bionics to design. The following conclusions were drawn:

1. bionics is a science that studies biological systems to create mechanical systems that serve the benefit of humans;

2. bionics had a huge impact on the development of science and technology;

3. Bionics is primarily a technical science, however, it is closely related to art, because it considers the issues of borrowing not only the functions, but also the forms of living nature. Nature contains a harmony of function and form, which is used by designers in creating the built environment;

4. The pinnacle of environmental design is the design of the architectural environment, creating a “second nature”; for architectural design, the relationship with bionics is of utmost importance.

natural bioform architectural creative

Chapter 2. The feasibility of bioforms in architectural design

2.1 Architectural bionics

“The truly inquisitive eyes of scientists, truly devoted to science, have more than once tried to look into the architectural workshop of nature” Litinetsky I.B. Conversations about bionics. - M.: Publishing house "Nauka", 1968. - 592 p. P. 269., creating objects of the artificial environment, architects and researchers of “second nature” strived and strive to use the riches of living nature for their own purposes.

“Study of the laws of functioning and formation of living nature objects (biological objects) with the aim of using them to improve architectural solutions, form complex architectural and urban planning systems, harmonize the relationship between architecture and natural environment"became the subject of architectural bionics Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 18. .

Architectural bionics as a scientific direction in Russian architecture arose in the 60s of the twentieth century. Its development began with an article by young architects Yu.S. Lebedev and V.V. Zefeld “Structural structures in architecture and the plant world” (Questions of architecture. - M.: Stroyizdat, 1962). In 1970, Yu.S. Lebedev coined the term “Architectural bionics”. The center for the study and use of new science became the Central Research Institute of Theory and History of Architecture (TsNIITIA; now the Research Institute of the Theory and History of Architecture and Urban Planning of the RAASN http://niitiag.ru/), in which the Central research and experimental design laboratory of architectural bionics Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 6. .

Architectural bionics immediately showed itself, showing its capabilities in the development of Russian architecture.

Today, the main directions for the development of architectural bionics as a science and creative method have emerged:

Basic theoretical principles;

Research methodology and methods of architectural-bionic modeling;

History of the use of forms of living nature in architectural practice, including in folk architecture;

Problems of the formation of living nature;

Issues of ensuring the vital activity of living systems, thermodynamic factors;

Phenomena of natural standardization and unification;

The problem of using natural manifestations of harmony in architecture

Plasticity, proportions, rhythms, symmetry-asymmetry, tectonics, color, etc.;

Study of tectonic forms of living nature, principles of their transformation and the ability of natural structures to accumulate elastic energy;

Issues of harmonious formation of the architectural and natural environment (ecological aspect of architectural bionics) Kozlov D. Architectural bionics in the 21st century // Architecture, construction, design. Architectural magazine. 2006. No. 2. [Electronic resource] .

The advantages of architectural bionics include:

· search for new functionally justified architectural forms, distinguished by beauty and harmony;

· creation of new rational structures with the simultaneous use of the properties of building materials of living nature;

· discovering ways to realize the unity of design and creation of architectural means using natural energy;

· creating conditions for the conservation of living nature and the formation of its harmonious unity with architecture Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 6. .

Thus, architectural bionics is aimed at improving architectural forms, harmonizing form and function, and unifying architecture with the environment.

The method of architectural bionics, in contrast to the purely mathematical methods of technical bionics, combines the abstract and the concrete into one whole - the mathematical laws of form and its emotional image. In other words, architectural bionics is a synthesis of science and art. Kozlov D. Architectural bionics in the 21st century // Architecture, construction, design. Architectural magazine. 2006. No. 2. [Electronic resource]

One of the masterpieces of the interaction of technical achievements and architectural art were natural analogies in the works of the famous Spanish architect Antonio Gaudi. His works stand out for their amazing originality and striking similarity to wild plants and are a real laboratory for the study of natural and creation of form-building architectural means Architectural bionics / Lebedev Yu. S. et al. - M.: Stroyizdat, 1990. - 269 p. P. 33. . Gaudí's outstanding work is the Sagrada Familia in Barcelona (Fig. 4). Construction began in 1882, Gaudí worked on it until his death in 1926, but work on it continues to this day. The temple was consecrated by Pope Benedict XVI in 2010.

Of particular interest is the work of the Russian, Soviet engineer, academician V.G. Shukhova. His main creation is the radio tower on Shabolovka in Moscow. His masterpieces also include the translucent ceilings of GUM and the Pushkin Museum in Moscow, the main Moscow post office, and more than 20 mesh water towers in different places in Russia. His creations are characterized by innovative ideas, structurally borrowed from living nature - these are hyperboloid towers, hanging and arched mesh coverings (Fig. 5), thin-walled membrane coverings Shukhova E. New era of barbarism // Science and Life. 2014. No. 5. P. 17. .

The modern development of architectural bionics is closely related to environmental problems. Today, in conditions of the environment polluted by human waste, as well as the problem of non-renewable resources, issues of so-called “green” or organic architecture V.L. Glazychev have begun to be actively raised. Architecture. Encyclopedia. - M.: “Design. Information. Cartography". Astrel. AST, 2002. - 627 p. P. 580; Levina E.K. Architecture in harmony with nature // Website of the Siberian Federal University [Electronic resource].

By organic architecture we mean, first of all, not the architecture that blindly follows forms, but the one that fits well into a certain landscape, lives in harmony with nature Levin E.K. Architecture in harmony with nature // Website of the Siberian Federal University [Electronic resource]. Although in fact the “organic” direction in architecture is not directly related to bionics and often comes down to establishing an external connection between architectural forms and the local landscape, nevertheless, the idea of ​​​​forming systems characteristic of the living world is interesting. Babaev A.I. Bionic architecture. Bionic Hi-tech // Architecture and design/ Directory [Electronic resource] and increased attention to environmental problems.

Architecture strives to take into account generally accepted environmental requirements for the design of the urban environment:

· increasing the energy efficiency of residential buildings and developments through the use of autonomous energy supply systems using renewable energy sources (sun, wind);

· compensation for missing elements of the natural environment when landscaping and watering public areas and courtyards, as well as landscaping open terraces, roofs and walls of buildings;

· application of ecological systems to reduce the anthropogenic impact of human life processes on the environment (economical domestic water consumption, closed cycles for sewage treatment and recycling of solid household waste) Sosunova I.A. Ecodesign in Russia: socio-technological aspects and development problems // Bulletin of the International Academy of Sciences (Russian section). 2015. No. 1. P. 66. .

These trends influence the formation of modern architecture: designers and architects are looking for ways to create an artificial nature environment, which is characterized by: typological diversity of compositional solutions, harmony, rhythm and proportionality Kuznetsova G.N. Principles of interaction between structural shaping and visual ecology in environmental design // Aftoref. diss. PhD in Arts M., 2006. [Electronic resource]. To implement these trends in architectural design, bioforms are actively used.

2.2 Feasibility of bioforms in architectural design

Modern architectural design makes extensive use of the bionic approach. When creating a modern architectural environment, the designer-architect strives to use the principles of living nature: he borrows not only external forms, but also functions. Bioforms of modern architecture are functional, they solve problems posed by time and the circumstances of today's life Babaev A.I. Bionic architecture. Bionic Hi-tech // Architecture and design/ Directory [Electronic resource].

Architectural designers, synthesizing the principles of constructing natural structures, create completely new, unusual forms Litinetsky I.B. Conversations about bionics. - M.: Publishing house "Nauka", 1968. - 592 p. P. 295. . With the development of technology and the emergence of new structural materials, the use of bioforms becomes almost limitless Suvorova A.I. The role of the course “Introduction to Practical Bionics” in the preparation of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource].

The created bioforms provide undeniable advantages, such as:

outwardly pronounced physical lightness of natural forms with great potential for resistance to mechanical influences;

a freely evolving space characterized by diversity and transparency, which promotes penetrating visual observation and holistic perception;

structuring of space; alternation various forms, structures, masses and space with gradual transitions, carried out through the action of the mechanism of the law of differentiation and integration;

plasticity of forms;

elastic and light bends of solid and wide surfaces, similar to shell shells made of reinforced concrete and plastics, used in architectural practice; dynamism - both real movements and figurative expression of growth and development of forms Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 116. .

To denote the method of figurative construction using various biological forms, there is a special term - biomorphism.

Along with the diversity that can be borrowed from living nature, biological uniformity is also valuable to us. In living nature, the standardness and combinatorial nature characteristic of architecture, necessary for survival and effective functioning, are fully present. In architecture, these properties serve as a means of saving resources and, at the same time, as a means of composition, influencing external forms. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 127. .

Speaking about biological formation, it is necessary to note the importance of associations. Harmony of form, achieved without connection with associations, does not affect the depths of human consciousness. Architecture is characterized not by direct associations that recreate visual pictures, but by associations that awaken moods and psychological states associated with these pictures. In different eras, in different architecture they are not the same. For example, ancient architecture is associated with man, and ancient Russian architecture seems to be associated with images of nature. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 117. In the modern terminology of world architecture, the concept of an architectural-bionic process has appeared, which has become one of the directions of high-tech architecture. Babaev A.I. Bionic architecture. Bionic Hi-tech // Architecture and design/ Directory [Electronic resource].

Buildings designed in accordance with modern architectural trends include maximum savings in resources. The bet is placed on technical designs, as well as the use of sunlight and heat, for which materials that conserve energy are used Glazychev V.L. Architecture. Encyclopedia. - M.: “Design. Information. Cartography". Astrel. AST, 2002. - 627 p. pp. 580 - 581, the terrain is widely used - houses built into the slope of the area, green roofs Glazychev V.L. Architecture. Encyclopedia. - M.: “Design. Information. Cartography". Astrel. AST, 2002. - 627 p. pp. 586 - 587. Analyzing modern trends in the formation of the architecture of residential buildings, one cannot help but notice how the topic of plastic organization of the building envelope is becoming increasingly important. Many solutions that have emerged in recent decades in the design of public buildings are related to the organization and regulation of natural lighting, ventilation, and thermal efficiency. Increasingly, so-called “smart home” technologies are incorporated into the design of residential buildings, integrating smart building materials and microelectronics. main feature of such houses is the ability to manage almost all processes in the house using a single computer network. “Zero energy” or “passive” houses, united by the general term “energy efficient houses,” are coming into use. The concept of the "passive" house is one of the most significant breakthroughs in construction. Such a house does not depend on external energy sources. Emergency heating (in case of prolonged frosts), a hot water supply system, and power supply for a passive house are provided using the energy of natural sources Belko T.V. Organization of environmental spaces and innovations in the field of architecture // Archive of scientific publications [Electronic resource].

Another problem of modern architectural design is urban planning - the creation of an expressive, monumental appearance of the city. Today, in conditions of rapid growth and development of the urban environment, orientation in the chaos of large standard forms has become dulled, the concept of a clear silhouette of the city has been mixed with the near and far zones of perception. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 118. . As the famous architect Le Carbusier noted: “Huge structures future layout will crush us. Need to find general measure between us and these gigantic works" Quoted. from: Architectural bionics / Lebedev Yu. S. et al. - M.: Stroyizdat, 1990. - 269 p. P. 118. . The solution to the problem can be synthesized works of architecture and sculpture, building-images, which will, with their figuratively new form, scale, dominants in urban planning, create a kind of emotional force field in the area of ​​their functioning Architectural bionics / Lebedev Yu. S. et al. - M.: Stroyizdat , 1990. - 269 p. P. 118. .

In Russia, the share of rural settlements exceeds urban ones, so the design of the former is important. To implement this function, the concept of an agroecosystem arose - a rural settlement that combines economic activity, the artificial environment necessary for this, organically combined with the natural environment Sosunova I.A. Ecodesign in Russia: socio-technological aspects and development problems // Bulletin of the International Academy of Sciences (Russian section). 2015. No. 1. P. 67. .

The problem of the loss of national features is also not the last in architectural design. Bionics helps to find another way to the development of national traits, namely in the aspect of interpreting regional, local forms of living nature in their holistic, spatial ecosystem. The latter, however, is far from the only one, but an integral part of the national environment. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p. P. 117. .

Having identified a number of trends in architectural design, it is necessary to give a number of examples of modern architecture that uses bioforms.

Forest House of Robert Harvey Oshatz (Fig. 6) - an original house among the trees, built by architect Robert Harvey Oshatz in the forest near Portland (USA) is located on a slope, it fits well into the landscape and fits perfectly with the surrounding nature of E.K. Levin. Architecture in harmony with nature // Website of the Siberian Federal University [Electronic resource].

Stone house in the mountains of New Zealand (Fig. 7). A one-story stone house on the shore of Lake Wakatipu, decorated with local stone, literally grows into the mountain; the entrance is made through an inverted roof, which is a natural continuation of the topography. The glass façade expands common area magnificent views, combining it with the surrounding beech forests. The house has everything necessary for year-round living, heated floors provide additional comfort V cold winter, there is a supply of gas in cylinders, water is taken from the nearby river Levina E.K. Architecture in harmony with nature // Website of the Siberian Federal University [Electronic resource].

Bird-proof glazed building (Fig. 8). The glass of this building, at any consecration, seems completely transparent to a person, but birds see in it a cobweb reflected in ultraviolet rays. This strategy is used by the silkworm spider, which is interested in insects getting into the web without birds tearing it. Such glass was developed by the German company Arnold Glass together with the Max Planck Institute for Ornithology in 2006. Such glass is used all over the world, for example, in Germany the number of accidents with birds has dropped by 76% Zabolotnaya A. Design from nature: glass web and pavilion - sea urchin in Germany // The Village [Electronic magazine].

The Institute for Computational Design and the Institute for Building Structures and Design Structures together with students from the University of Stuttgart carried out a project to build a pavilion for bionic research (Figure 9). Thanks to observations of skeletal morphology sea ​​urchin, created a structure of polygonal plates connected by calcite “fingers”. The structure has great strength and has the ability to quickly change shape. For the pavilion, 850 plywood plates with a thickness of 6.5 mm and 100 thousand connections of Zabolotnaya A. were used of different shapes and sizes. Design from nature: a glass spider web and a pavilion - a sea urchin in Germany // The Village [Electronic magazine].

A skyscraper in western Germany, designed by JSWD Architekten, features 400,000 metal “feathers” attached to steel guides (Fig. 10). Depending on environmental conditions, the “feathers” can move, for example, completely covering the façade from direct sunlight, thereby regulating the level of illumination and ventilation inside the offices. Such a system was the result of observing the muscles of mammals. Zabolotnaya A. Design from nature: a glass web and a pavilion - a sea urchin in Germany // The Village [Electronic magazine].

Biodome "Nautilus", built in 2006 by architect Javier Senosian in the shape of a clam shell (Fig. 11). At the same time, the shape of the sink is preserved not only on the outside, but in the interior design: rooms with streamlined shapes seem to flow from one another in a spiral. The building is constructed from plastic reinforced cement, which can take on almost any shape Postnikova O. Bio house // Architecture and architects. Information site about architecture [Electronic resource].

The listed examples of the application of bionics achievements in architecture fully confirm, as it seems to the author, the feasibility of using bioforms in architectural design.

Conclusions to Chapter 2

Having defined the concept of “bionics” and the interaction of this science with design in the first chapter, in the second chapter the author examined the concept of “architectural bionics”, and then conducted a study of the feasibility of bioforms in architectural design. As a result, the following conclusions were made:

1. architectural bionics is a science that stands at the intersection of biology, technology and architecture; it studies the issues of borrowing the principles of biological systems for use in the architectural environment;

2. architectural bionics is a relatively new science, however, it already has a stable position not only abroad, but also in Russia;

3. architectural bionics uses the functions and forms of living nature in creating the architectural environment;

4. bioforms are the object of architectural design;

5. architectural design, using the shaping of living nature, does not, however, stop only at external copying of the form, focusing on the harmonious relationship between form and function, thus forming an organic architectural environment that fits into the landscape externally and internally through the use of natural conditions, natural materials, natural energy sources;

6. The most important goal of architectural design is, in addition to creating a comfortable and economical human environment, to protect the environment.

Conclusion

First, the author discussed the concept of bionics and defined the relationship of bionics to design, establishing that bionics is a science that studies biological systems to create mechanical systems that serve the benefit of humans. Bionics has had a huge impact on the development of science and technology. Being first and foremost technical science, however, it is closely related to art, because it considers the issues of borrowing not only the functions, but also the forms of living nature. Nature contains a harmony of function and form, which is used by designers to create the built environment. The pinnacle of environmental design is the design of the architectural environment, creating a “second nature”; for architectural design, the relationship with bionics is of utmost importance.

Secondly, the author examined the concept of “architectural bionics” and conducted a study of the feasibility of bioforms in architectural design. Architectural bionics is a science that stands at the intersection of biology, technology and architecture; it studies the issues of borrowing the principles of biological systems for use in the architectural environment, using for this purpose the functions and forms of living nature. Architectural design actively uses bioforms; however, it does not stop only at external copying of the form, focusing on the harmonious relationship between form and function, thus forming an organic architectural environment that fits into the landscape externally and internally through the use of natural conditions and natural materials. , natural energy sources. The most important goal of architectural design is, in addition to creating a comfortable and economical human environment, to protect the environment.

Thus, the study established the importance of bionics in science, technology and art, in particular in design. Research in this area with the aim of using bioforms in the formation of the architectural environment is extremely relevant and, of course, appropriate for architectural design, since it allows the creation of a harmonious human environment.

This study can serve as a necessary guide for the work of a designer, as well as become the basis for further research on bionics, in particular architectural bionics, in the field of design, including architectural design.

References

1. Architectural bionics / Lebedev Yu.S. and others - M.: Stroyizdat, 1990. - 269 p.

2. Arkhipova A.A. Bionics in the architectural genesis of mobile architecture // Architecton: news of universities / Periodical publication of the Ural State Academy of Architecture and Art. No. 42. 2013 [Electronic resource]

3. Babaev A.I. Bionic architecture. Bionic Hi-tech // Architecture and design/ Directory [Electronic resource]

4. Babitsky A. Bionics in architecture [Electronic resource]

5. Baykova E.V. Biomorphism as a system of figurative modeling in culture / Abstract. diss. Doctor of Cultural Studies // Science and Man. Website of humanitarian dissertations [Electronic resource]

6. Belko T.V. Organization of environmental spaces and innovations in the field of architecture // Archive of scientific publications [Electronic resource]

7. Bochkarev D.N. Method of bionic design in architectural design // SCI-ARTICLE [Electronic scientific journal]

8. Glazychev V.L. Architecture. Encyclopedia. - M.: “Design. Information. Cartography". Astrel. AST, 2002. - 627 p.

9. Design. Illustrated dictionary-reference book. - M.: “Architecture - S”, 2004. - 288 p.

10. Zabolotnaya A. Design from nature: glass-web and pavilion - sea urchin in Germany // The Village [Electronic magazine]

11. Kozlov D. Architectural bionics in the 21st century // Architecture, construction, design. Architectural magazine. 2006. No. 2. [Electronic resource]

12. Kononova Yu.A., Lebedeva T.V., Mikerchuk A.Yu. Bionics in architecture // Website of the Siberian Federal University [Electronic resource]

13. Kreizmer L.P., Sochivko V.P. Bionics. - M.: “Energy”, 1968. - 112 p.

14. Kuznetsova G.N. Principles of interaction between structural shaping and visual ecology in environmental design // Aftoref. diss. PhD in Arts M., 2006. [Electronic resource]

15. Levina E.K. Architecture in harmony with nature // Website of the Siberian Federal University [Electronic resource]

16. Litinetsky I.B. Conversations about bionics. - M.: Publishing house "Nauka", 1968. - 592 p.

17. Mazurina T.A. Bionic shaping in graphic design. - Orenburg: IPK GOU OSU, 2009. - 132 p.

19. Maslov V.N. Proportions and configurations in nature, architecture and design. - Ukhta: USTU, 2007. - 55 p.

20. Postnikova O. Bio house // Architecture and architects. Information site about architecture [Electronic resource]

21. Own house of the architect F.F. Lumberga // Citywalls. Architectural website of St. Petersburg [Electronic resource]

22. Sosunova I.A. Ecodesign in Russia: socio-technological aspects and development problems // Bulletin of the International Academy of Sciences (Russian section). 2015. No. 1. pp. 66-69.

23. Suvorova A.I. The role of the course “Introduction to Practical Bionics” in the training of future designers // Website of the Shadrinsk State Pedagogical Institute [Electronic resource]

24. Shukhova E. New era of barbarism // Science and life. 2014. No. 5.

Application

Figure 1. Design of the capitals of the columns of the temples of Ancient Egypt by analogy with the shapes of lotus and papyrus flowers: from focusing on the decorative side (1-4) to tectonic development (5-6). (Lebedev, 21)

Figure 2. Unity of forms of architecture and surrounding nature. Church of the Intercession on the Nerl, 12th century

Figure 3. Own house of architect F.F. Lumberga, St. Petersburg, 1904

Figure 4. Antonio Gaudi. Temple of the Holy Family (Sagrada Familia)

Figure 5. Shukhov V.G. Mesh covering of the oval pavilion of the All-Russian exhibition in Nizhny Novgorod. 1896

Figure 5. Robert Harvey Oschatz's Forest House

Figure 7. Stone house in the mountains on the shore of mountain lake Wakatipu

Figure 8. Bird repellent glass

Figure 9. Pavilion “Sea Urchin”

Figure 10. Building inspired by animal muscles

Figure 11. Nautilus House

Posted on Allbest.ru

Similar documents

Urban growth and degradation of the natural environment as a natural factor in the development of society. Modern idea of ​​urban ecology; reflection of natural concepts in urban planning. Using the achievements of architectural bionics in the construction of buildings.

abstract, added 10/11/2013


The city as a natural-technogenic system. Zoning of urban areas - natural analogies. Physical factors in cities. Impact assessment physical factors in an urban environment. Architectural bionics, the use of natural analogies in architecture.

abstract, added 10/15/2014


Synergetics as an interdisciplinary area of ​​scientific research, the task of which is to study natural phenomena and processes based on the principles of self-organization of systems. General methodology and principles of synergetics, its reflection in architecture.

abstract, added 12/01/2012


Architectural and construction bionics. Principles of "green" (organic) architecture. The works of R. Pietil. Aalto's main buildings. Project by bridge engineer G. Eiffel. An analogy between the structure of cereal stems and some modern high-rise buildings.

course work, added 09/15/2013


Stylish and functional characteristics of decorative elements in the development of architectural styles. Types of decorative interior elements. Peculiarities of perception of the subject-spatial environment in design. Mythopoetics in the system of object design.

course work, added 12/08/2014


The relationship of the law of dominance through a means of harmonizing the artistic form. The main ways to identify the compositional center. The concept of a focal point in the interior. Basic ways to create a compositional center. Examples of dominance in design.

presentation, added 12/25/2013


The concept of texture as the properties of a material, an object, which we feel when we touch it, its significance in the perception of forms. Using the idea of ​​texture in interior decoration. Options for using texture properties in design. Rules of texture and color.

test, added 05/19/2014


The history of the appearance of patios, their main types, design features and design principles. Structural and architectural planning elements. Characteristics of finishing materials in landscape design and drawing up project estimates.

thesis, added 09/21/2012


Development of the high-tech direction in architecture within the framework of the global architectural and historical process. Materials and their role in high-tech architecture. The work of Norman Foster as one of the pioneers and leaders of high-tech architecture.

thesis, added 06/27/2013


The beginning of life's journey. Work in the field of industrial design in the architectural bureau of Peter Behrens. A new language of architectural forms. Time to reflect on the path traveled, the creation of the Bauhaus. Activities in emigration. Relevance of Gropius' principles.

Bio-tech is a modern style of “neo-organic” direction in the field of architecture and interior design, which is distinguished by expressive designs reminiscent of natural forms. Another name for it is bionics. The new movement appeared relatively recently, so the style was consolidated only at the level of individual large architectural compositions. The main features of bio-tech are the desire to repeat the harmony of natural objects using the example of architectural buildings, as well as creating interiors in residential and commercial premises.

The history of Bionics as a style

The style arose and developed from an applied science called bionics. Adherents of this science sought solutions to complex engineering and technical problems, turning to natural forms for inspiration.

Bio-tech first showed itself in the works of Leonardo da Vinci. The great master observed birds, after which he created designs for aircraft.

There are no specific dates for the emergence of the concepts of bionics in architecture and interior design, but it is believed that the first step towards the formation of a style in modern times made by Frank Lloyd Wright (1939) - British architect. He was convinced that structures should be similar to living organisms, whose growth occurs according to natural laws.

According to Lloyd, organic bionics in construction is the unity of science, religion and art.

Becoming a bio-tech architectural style dates back to the end of the 20th century, but to this day this direction is highly popular and continues to develop in the construction field.

Architecture Biotek

Bio-tech architecture is distinguished by its lack of symmetry. Structures in this direction often take the form of cobwebs, trees, cocoons and other compositions that are found in nature. This style is aimed at embodying a specific philosophical concept, pursuing the idea of ​​​​creating a new space for human habitation. To achieve this, the principles of architectural construction, engineering and biology are combined, thanks to which houses in this style are distinguished by their environmental friendliness.

The bio-tech style in the field of architectural construction is aimed at creating eco-houses, which are comfortable, energy-efficient buildings. Their distinctive feature is an independent life support system.

Main features in construction

In such buildings, landscaped terraces, collectors where rainwater is collected, solar panels, ventilation systems and natural light.

Examples of architectural bionics:

• Michael Sorkin's hotel designed in the shape of a jellyfish.
• The mirror-glazed Fred Olsen Center in London is the creation of Norman Foster.
• An egg-shaped house designed by Belgian architects from the DMVA studio.
• The building of Javier Senosyain, created after the example of the shell of the Nautilus mollusk and received the name of the same name.
• The skyscraper "St. Mary Ax, 30", popularly called the Gherkin, built according to the design of Norman Foster.

Buildings can repeat both the shapes of people and animals (including parts of their bodies), as well as images observed in inanimate nature.

In modern architecture, bionics is at the peak of its development, as evidenced by new unusual buildings around the world. Their design can consist of a variety of materials similar to the structure of natural forms (for example, bubbles, honeycombs or layered compositions).

Interior: design and furniture

Bio-tech in the interior of modern buildings is distinguished by the fact that all the details of the decor and the building itself resemble all kinds of natural objects. It vaguely resembles both with its bright colors and special meticulousness in the selection of all elements. The interior of a living space in this style can be made both in a traditional layout and in a curvilinear solution.

The direction of bionics in the field of organizing interior spaces eliminates straightness, the presence of sharp corners and sharp lines. In addition, when it comes to equipping with technology, bionics requires the inclusion of high-tech elements in the plastic and curvilinear forms of the interior: interactive modules, as well as the latest technical devices (which distinguishes this style from).

Today it is very fashionable to adhere to naturalness in equipping your home, so bionics have earned numerous positive reviews not only in our country, but also in European countries around the world.