organic architecture

The first examples of bionics in architecture. The Eiffel Tower as a vivid example of bionic architecture of the 20th century. Gustave Eiffel in 1889 made a drawing of the Eiffel Tower. This structure is considered one of the earliest clear examples of the use of bionics in engineering.

The design of the Eiffel Tower is based on the scientific work of the Swiss anatomy professor Hermann Von Meyer. Forty years before the construction of the Parisian engineering miracle, the professor studied the bone structure of the femoral head at the point where it bends and enters the joint at an angle. And at the same time, for some reason, the bone does not break under the weight of the body. Von Meyer discovered that the head of the bone is covered with an intricate network of miniature bones, thanks to which the load is redistributed in an amazing way over the bone. This network had a strict geometric structure, which the professor documented.

In 1866, the Swiss engineer Carl Cullman provided a theoretical basis for von Meyer's discovery, and 20 years later, natural load distribution using curved calipers was used by Eiffel (Fig. 9).

The architectural and bionic practice has given rise to new, unusual architectural forms, expedient in functional and utilitarian terms and original in their aesthetic qualities. This could not but arouse interest in them from architects and engineers.

Architectural bionics is similar to technical bionics; however, it is so specific that it forms an independent branch and solves not only technical, but mainly architectural problems.

The scientific foundations of architectural bionics began to be created in the Soviet Union, especially the work of architects V. V. Zefeld and Yu. S. Lebedev.

a)	b)

Rice. 9. Designing the Eiffel Tower:

a) analysis of the structure of the human femur; b) building the Eiffel Tower

In the Soviet Union, bionic ideas received great attention from architects and engineers ( MAI, TsNIISK Gosstroy USSR, Len-ZNIIEP and etc.). On fig. 10 presented project of a six-story revolving building for the Leningradskaya Pravda newspaper, designed by architect Konstantin Melnikov.

Rice. 10. The project of a six-story rotating building of the Leningradskaya Pravda newspaper. Architect Konstantin Melnikov (1924)

organic architecture. Organic architecture is a direction in the architecture of the 20th century, which was first formulated in the 1890s. American architect Louis Henry Sullivan(Sullivan, Louis Henry, 1856-1924). He denoted by this term the correspondence of function and form, he used it in his writings on architecture in order to dissociate himself from the eclecticism that prevailed at that time. The concept of organic architecture is very ambiguous and hardly amenable to precise definition, but it has nothing to do with the imitation of organic forms.

F. L. Wright. The ideas of L. Sullivan were developed by his student Frank Lloyd Wright(Frank Lloyd Wright, 06/8/1867 - 04/09/1959). The basis of Wright's concept was the idea of ​​the continuity of architectural space, opposed to the emphasized separation of its individual parts in classic architecture.

The building, inscribed in nature, its external appearance, arising from the internal content, the rejection of traditional laws of form - these are the characteristic features of its architectural language, which can be defined by the concept of "organic architecture" (Fig. 11). This idea was first realized by him in the so-called "prairie houses" (Roby's house in Chicago, 1909, etc.).

Rice. 11. F. L. Wright. Robie's house in Chicago, 1909

Arguing with the extremes of functionalism, opposing it with the desire to take into account the individual needs and psychology of people, organic architecture in the mid-30s. becomes one of the leading directions. Under the influence of her ideas, regional architectural schools were formed in the Scandinavian countries (for example, creativity Alvara Aalto(Hugo Alvar Henrik Aalto, 1898 - 1976).

Alvar Aalto.« With Modern architecture is rational only from a technical point of view, and its main drawback is that rationalism has not penetrated architecture deeply enough. It should be functional, first of all from a human point of view, and not from the point of view of technology, ”consideredAlvar Aalto.

The severity of lines and spatial compositions was combined in his buildings with the poetic wit of key structures and images, subtly taking into account the specifics of the local landscape. Basic principles: freedom of internal spaces, deployed mainly in a horizontal plane; a constant combination of reinforced concrete and glass with more traditional materials: wood, stone, brick.

At the same time, Aalto came to the important conclusion that each building material has its own specific area of ​​\u200b\u200bapplication. Thanks to all this, Aalto's functional architecture became fully organic architecture, representing a restrained European analogue of the work of Frank Lloyd Wright (Fig. 12 - 14).

Rice. 12. Aalto A. Town Hall in Säinätsalo

Figure 13. Aalto A. Theater in Essen

Figure 14. Aalto A. Finlandia Concert Hall in Helsinki.

In the United States, the principles of organic architecture were used by the California school, led by by Richard Neutra(Neutra, Richard, 1892-1970). In the second half of the 1940s. the theory of organic architecture was picked up in Italy by the architect B. Dzevi. In 1945, the ARAO group was created in Rome ( Associazione per I "Archittetura Organica, Association of Organic Architecture), which emphasized in its program the humanistic orientation of the main provisions of organic architecture.

The idea of ​​a perfect, ideal city, formulated by Neutra in 1923 - 1935, has been applied in modern urban planning projects (Fig. 15, 16). He carried out port projects and contributed to the development of air transport by creating mobile air terminals.

Neutra was first mentioned in 1927. Fame came to him with the creation of the "Hanging House" in California, which was assembled in just two days. His hanging house was in the midst of a forest fire. The entire surrounding area was destroyed, only this house survived the fire, thanks to the high quality of concrete and steel.

Fig 15. R. Neutra."Mansion in the Desert" USA

Rice. 16. House Ford in Aurora (Illinois, USA). 1950. R.Neutra

Some general principles of shaping, certain techniques developed by organic architecture are widely used in architecture and design. Throughout the history of architecture, there are two different trends: one developing towards the rational, the other towards the emotional and organic perception of the environment. Since the beginning of civilization, there have been cities that were planned according to a well-designed scheme, and others that grew organically, like trees. Even in modern painting and architecture there is a difference between organic and geometric perception.

Bionic principles in architectural practice. Let us consider the general principles of shaping in organic architecture using the projects of F.L. Wright. From the very beginning, F. L. Wright's perception was organic. Even at a time when Wright was alone as an architect and did not meet with public support, when America turned away from him, he built his houses in the folds of the relief so that they seemed to form a single whole with the surrounding nature. This tendency is evident already in his early works, such as in the Kunley house, with its cantilevered roof and plants growing on the parapet, where there is a tendency to merge so completely with the environment that it is often impossible to understand where the house actually begins. This desire for an organic solution may partly explain Wright's preference for natural raw materials: rough stone blocks, rough granite floors, heavy, rough-hewn logs. The desire for an organic solution explains his commitment to flexible layouts and huge fireplaces in the age of central heating.

The walls of the house now started from the ground; they were placed on a concrete or stone horizontal platform, something like a low platform on which the building stood. The walls ended at the level of the window sills of the second floor, and above them, under the wide overhangs of the roof, which had a slight slope, there were rows of continuous windows (clerestories), through which the interior rooms opened to the outside. Thus, the walls became screens surrounding the interior space.

The house was given a wide roof - shelter, protection. The undersurfaces of the roof ledges were flat and painted in a light color to create a radiance of diffused light in this place, which made the upper rooms charming.

Then Wright, in contrast to the diversity of wall materials, introduced one material into a single plane from the blind area to the roof overhang or to the level of the window sills of the second floor, in the form of a simple enclosing screen or in the form of a tape that goes around the building above the windows and passes into the ceiling, reaching the level of the cornices. This tape screen was made from the same material as the underside of the roof overhangs (soffit).

Planes in the building parallel to the ground were emphasized to connect the whole to the ground. Sometimes it was possible to make an outer wall under the second floor window tape, from the level of the second floor window sills to the ground, in the form of a heavy panel - beautiful stonework, which rested on a concrete or stone platform. Dwelling interiors of the period tended to consist of boxes placed within or next to other boxes; they were called rooms. Boxes inside a complicated box. Each housing function was distributed into boxes. This cellular limitation conjured up confinement cells, or, at best, the coziness of upstairs bedrooms. And Wright began to make the entire first floor in the form of one room, highlighting only the kitchen. The large room is subdivided into sections with different uses, such as for eating or reading or for receiving visitors. At that time there were no such plans. Gone were the endless doors and partitions. The house became freer as a space and became more suitable for living in it. The spatiality of the interior began to appear.

F. L. Wright's basic principles:

1. Reduce to a minimum the number of necessary parts of the building and the number of separate rooms in the house, forming the whole as a closed space, subdivided so that the whole is permeated with air and freely visible, giving a sense of unity.

2. To connect the building as a whole with its site by giving it a horizontal extent and emphasizing planes parallel to the ground, but not occupying the best part of the site with the building, thus leaving this best part for use, for functions related to the life of the house ; it is a continuation of the horizontal planes of the floors of the house, extending beyond its limits.

3. Do not make the room a box, and the house - another box, for which we turn the walls into screens that enclose the space; ceilings, floors and enclosing screens should overflow into each other, forming one common enclosure of a space with a minimum of subdivisions. To make all the proportions of the house closer to human, a constructive solution with the least volume consumption and the most appropriate for the materials used, and the whole, thus, the most suitable for living in it. Apply straight lines and streamlined shapes.

4. Remove the base of the house, containing the unhygienic basement, from the ground, place it completely above the ground, turning it into a low plinth for the living part of the house, making the foundation in the form of a low stone platform on which the house should stand.

5. All necessary openings leading outside or inside should be brought into line with human proportions and placed naturally in the scheme of the entire building: either in a single form, or in groups. Usually they act as transparent screens instead of walls, because the whole so-called "architecture" of the house is expressed mainly in the way these openings in the walls are grouped around the rooms as enclosing screens. The interior as such now takes on a significant architectural expression, and there should be no holes cut into the walls like holes cut into the sides of a box. "Punching holes in walls is violence."

6. Eliminate the combination of different materials and, as far as possible, strive for the use of one material in the construction; do not use decorations that do not follow from the nature of the material, so that the building more clearly expresses the place in which they live, and so that the general character of the building clearly testifies to this. Straight lines and geometric shapes correspond to the work of the machine in construction, so that the interior naturally takes on the character of machine production.

7. Combine heating, lighting, water supply with building structures so that these systems become an integral part of the building itself. The elements of the equipment thus acquire an architectural quality: here, too, the development of the ideal of organic architecture is manifested.

8. Combine with the elements of the building, as far as possible, furnishings, as elements of organic architecture, making them one with the building and giving them simple forms corresponding to the work of the machine. Again straight lines and rectangular shapes.

9. Exclude the work of the decorator. If he does not bring styles to the rescue, then he will definitely use “curls and flowers”.

It was all rational - to the extent that the development of thought in the field of organic architecture has reached. The specific forms that the feeling gave on the basis of this thought could only be individual.

Wright had the idea that the planes of the building, parallel to the earth's surface, are identified with the earth, making buildings belong to the earth. The idea arose that a house in a flat area should begin on the ground, and not in it, as is the case when damp cellars are built. And the idea arose that the house should look like starting from the ground, as a result of which a protruding strip of foundation was made around the house in the form of a platform on which the house stands. And the idea that shelter should be an essential feature of the dwelling brought to life a wide roof with a large overhang. Wright saw the building not as a cave, but as a shelter in an open area.

The free layout and elimination of useless height in the new dwelling did wonders. The feeling of proper freedom completely changed his appearance. The whole has become more suitable for human habitation and more natural to its place. There was a whole new sense of the value of space in architecture. It has now entered the architecture of the modern world.

If form really follows function, then one must completely discard what is forcibly imposed by the post-and-beam system. So that there are no beams, no columns, no cornices and other details, no pilasters and entablature. Instead of two things, one thing. Let walls, ceilings, floors become parts of each other, flowing into one another, giving or receiving continuity in all this by eliminating any attached detail, by eliminating any attached or superimposed details at all.

So the expression is "form and function are one" - is the core of organic architecture. It directs our actions along a single path with nature and enables us to work consciously.

Already in his early buildings, Wright purposefully "liquidated excesses", that is, eliminated the heap of decorative details outside and inside the building, considering "simple, strong forms and pure, bright colors" as an artistic ideal.

Speaking against the fragmentation of form, he was among those who laid the foundation for one of the basic principles of shaping in modern architecture and design. This principle can be called the method of exclusion and aggregation; its result is simplification. Wright put it this way: “One thing instead of many; a big thing instead of a bunch of small things."

Wright understood the principle of simplification not in a superficially aesthetic sense: “False simplicity-simplicity as a pretense, i.e., simplicity constructed by the decorator as an appearance, behind which lies a complex, overflowing construction, is not enough for simplicity. It's not simple at all. But that's what passes for simplicity now that stunning effects of simplicity have become the fashion."

He fundamentally strove to make the building simple, starting with its structure (volume-spatial composition and constructive basis) and ending with the details: « It is necessary to get rid of complications in designs and use the advantages of factory production, to exclude, as far as possible, work on the construction site, which is always expensive; it is necessary to enlarge and simplify the devices of engineering equipment for heating, lighting, plumbing».

In the composition of a one-story residential building, Wright makes radical simplifications: he eliminates the traditional complexity of roofs with internal and external fractures; eliminates the attic, arranging a combined coating; abolishes the basement and even foundations, without which a one-story house can exist. It consolidates and simplifies the forms of the building and in the area of ​​equipment, for example by removing traditional lighting fixtures and making light sources hidden, eliminating radiators and placing heating devices under the floor, thus turning the equipment from an addition to the building into an integral part of it. Furniture, if possible, is made built-in, and everything superfluous is removed from the interior: the necessary is hidden, the unnecessary is eliminated. Of course, the "decorations" are eliminated inside and out.

It's not just about removing decorative details. The principle consists in simplifying the forms, in the transition from the fragmentation of the form to conciseness, expressing a modern view of things: "the main thing is the essence of the matter."

When designing a new type of single-family residential building, Wright applied the following practical tricks:

1. The foundations were not arranged. Indeed, if drainage is performed, the soil will not deform during freezing. Instead of a foundation, it is easier to base the walls in the form of a concrete slab over a gravel underlayment. This design also includes the wiring of the heating system. The basement was also not arranged, as it complicates the construction, increases the cost of construction and cools the living quarters. The construction site was drained by means of trenches filled with rubble. A crushed stone base 5-6 inches (12-15 cm) thick was arranged throughout the building area, in which heating coils were placed. A concrete underlayment 10 cm thick was laid on top. The walls of the house were installed on this platform. The core of the house was formed by brick or natural stone walls in the kitchen and bathroom area and in some other places. These arrays contribute to the stability of the structure - actual and visual. The rest of the walls were wooden, consisting of three layers of boards laid with glassine. Thin wooden walls, as Wright argued, have sufficient bearing capacity due to breaks in their plan. Laminated wooden walls, as well as glazing elements, were prepared in the form of shields and blocks assembled on site.

2. The height of the premises was usually kept to a minimum. Roofs, which in traditional buildings are complex in configuration, with numerous roof fractures and slope intersections, were simplified as much as possible. In houses built according to Wright's designs, the roof is gable or flat, and with a free spillway, without downpipes and gutters. Both pitched and flat roofs have wide overhangs. A significant removal of the cornices is arranged in most of Wright's residential buildings. In his words, "the roof is the symbol of the house." Overhangs protect walls from precipitation and glazing from the sun. Often, the canopy over the glazing was not made solid, but in the form of a lattice - a cantilevered pergola, complemented by climbing greenery, which creates sun protection in the summer, when the plants are covered with foliage, and allows for better illumination of the premises in winter. At the same time, if climbing plants are not provided, the width and frequency of the lattice slats are calculated in such a way as to create a barrier to the direct rays of the sun in the hot season.

3. The coating in all cases, including pitched, was arranged without a roof, and the ceiling was hemmed with finishing plywood or planed boards, and the ceiling filing was not only not plastered, but also not painted (it was covered with transparent varnish). In addition to simplifying and reducing the cost of construction, the device of a non-attic pitched roof creates interesting spatial effects in the interior. In general, in Wright's buildings, plastering and painting are kept to a minimum. Structural building materials - stone, brick, wood, concrete - are not masked by other, specially designed finishing materials. In addition to the fact that the exposure of the natural texture of the material of structures produces a kind of decorative effect, this technique achieves the impression of integrity and naturalness of architecture.

The idea of ​​wholeness (integrity, as Wright said) is of great importance in the concept of organic architecture. He sought to ensure that the structure gave the impression of being made from one piece, and not assembled from numerous parts and details. So, he introduced underfloor heating not only because of its cost-effectiveness and hygiene, but also because it made it possible to make the system not an addition to the building, not equipment in the form of pipes and radiators attached to the walls, but an integral part of the building. There were no chandeliers and suspensions in the house: the source of artificial lighting was made built-in (and very often hidden). The furniture was, as far as possible (with the exception, perhaps, only chairs), built-in: tables, beds, sofas, cabinets, bookshelves were elements of architecture, provided for in the drawings and carried out during the construction process as part of the building.

Wright's approach to the arrangement of light apertures is completely original (unless, of course, they are compared not with what has become common in architecture today, but with what was done 40-50 years ago). A window in the form of a rectangular cutout in the wall can be found in Wright only as an exception. In its buildings, glazing is either tape, or the entire height of the room, or in the ceiling. In one-story residential buildings, the premises have different heights, and in places where the roof drops (between its different levels), openings are arranged for upper-side lighting and for ventilation. In this case, the roof of the lower level can continue inward in the form of a shelf (light shelf), behind which sources of artificial lighting are sometimes placed. In hot weather, the upper windows (clerestory) contribute to good ventilation.

Wright is one of the first to introduce abundant glazing into architecture. He said, "Light gives beauty to buildings." But he combines this trend with the opposite: to reduce glazing to give the house more comfort, isolation, a sense of protection, shelter. As a result, in some interiors of "prairie houses" there is not enough natural light. In the 1930s, Wright introduces the following solution: the walls facing the street and to the north are blank, with only a narrow strip of glazing under the ceiling, and the walls facing the garden, to the courtyard, to the south, are completely glass from floor to ceiling.

Despite the large skylights and entire glass walls, Wright's houses inspire a sense of protection, shelter; the interiors of residential buildings built by him are homely. This is facilitated, in particular, by the widespread use of wood in interior decoration, the abundance of carpets and fabrics in them (including, for example, for flooring), the overall soft, warm tone of the interior, the presence of blank walls, and the use of large overhang cornices.

Wright sought to express the feeling of shelter, shelter, protection in his houses by the fact that the building has a massive core of masonry, around which the rooms are grouped: the core, visible from the outside, towering over other parts of the building and representing, as it were, a symbol of peace - the external expression of home hearth. This array includes a fireplace chimney and a kitchen volume with top side light.

Wright's residential buildings are planned to be divided into three zones: a bedroom and bathrooms, a kitchen and a place for eating, and a common room. The doors between them have been eliminated as far as possible, so that there is more freedom of movement, as well as to create the impression of a unity of the internal space.

The central part of the house is a common room with wide views outside. Usually it communicates directly with the garden: its floor continues outwards, passing into a terrace, which thus belongs simultaneously, as it were, to the garden and the house, being separated from the room by a glass wall (and this wall is also not solid, but consists of doors, which, if they are open at the same time, unite the space of the premises with the external space).

Formally free plan house plan ideas with a flat roof Le Corbusier and Wright coincide, but their implementation goes in different ways and leads to different aesthetic results (Fig. 17). To ensure freedom of planning, Le Corbusier used a frame with a regular grid of columns. Wright abandoned the frame, but achieved great freedom of layout by linking the location of the vertical load-bearing structures to the space-planning decisions of the buildings. As load-bearing supports, he uses walls or individual pylons, made in masonry of brick or blocks of natural stone, and leaves the masonry unplastered both on facades and in interiors. He arranges stone walls along the contour of sanitary facilities and kitchens, and links the placement of the remaining walls and pylons with the layout of the house and the requirements of its overall stability.

With all the compositional diversity of Wright's mansions, harmony with the surrounding landscape or a modest garden plot remains the same. At the same time, Wright's rejection of the urban environment remains equally constant, in which they fundamentally do not fit in and to which they usually face blank walls. Wright came to this decision at the time of creative maturity in the 1930s and 1950s. His mansions of the 1900s - 1910s are equally open to the yard and street space.

Rice. 17. F.L. Wright. Kaufman House

Equally distinctive was F. L. Wright's approach to the design of large public buildings. In 1904, he was the first to apply an atrium space-planning structure for a 5-story building. Larkin office in Buffalo, abandoning the traditional corridor layout of offices. At Larkin's office, he grouped all the workspaces around a single, full-height roofed atrium space so that they receive overhead and side natural light. In the history of architecture, this building is also notable for the fact that air conditioning was carried out there for the first time, there were built-in furniture, glass doors.

However, the most striking example of Wright's large public building projects is Guggenheim Museum in New York(1944 h - 1956). With this project, Wright broke the age-old stereotype of the enfilade planning structure of museum buildings. The art display at the Guggenheim Museum is built along a descending spiral ramp winding around the central atrium space, illuminated by overhead light through a glass dome (Fig. 18, 19).

Rice. 18. S. R. Guggenheim Museum in New York(1944 - 1956)

Museum visitors take the lift to the top of the ramp and, gradually, descending it and examining the exposition, come down to the service rooms, lecture halls, etc. The exposition lighting is combined: the top one is through the dome and the side one is through a narrow ribbon opening stretched along the ramp under its base. The compositional and functional feature of the interior of the museum is the combination of a large landscaped space of the atrium and relatively limited spaces along the ramp facing the atrium.

Rice. 19. S. R. Guggenheim Museum in New York(1944 - 1956): interior

The ability to switch visitors' attention from the exposition to the space of the atrium prevents the viewers from experiencing the traditional "museum fatigue". The functionally determined scheme for constructing the space of the museum also determined the construction of its external volume in the form of a kind of snail. Its unique, closed, "self-sufficient" volume is integrated into the development, regardless of the structure of the latter. Wright is just as original and organic in solving the trivial theme of a multi-storey office. In built in 1956 " Price Tower”(Bartlesville, Oklahoma) on assignment, office space and apartments were to be placed. According to tradition, in such cases, offices are placed below, and apartments are above. Wright broke the tradition: he placed offices and apartments on all 15 floors of the tower, but they are tightly separated from each other by a cross (in plan) of mutually perpendicular internal walls. Thus, the constructive stereotype is also broken - to design such buildings as frame ones. The internal wall bearing system is exposed at the ends and at the crown of the building, which ensured the tectonic nature of the composition of the tower volume.

Wright's innovations were once seen as eccentricities, but now almost every modern home in America has taken something from them.

Expediency and use of natural forms in construction. Bioforms are surprisingly expedient, which is why architects tend to use them in building design: solutions to many architectural problems have already been found in nature. The only question is to see and apply them within the framework of the materials and technologies available today, as well as in accordance with the goals set for the architect. With all its technological and scientific achievements, mankind does not have materials and technologies of such a level of perfection as they are in nature, which is why we are talking about attempts to use natural structures in architecture.

The first attempts to use natural forms in construction were made by Antonio Gaudi. 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 not seen anything like it yet. 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 Goetheanum, and from that moment on, architects around the world took bionics into service.

From the time of the Goetheanum to the present day, a large number of both 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 Expo Building, Japan - the SONY skyscraper and the fruit museum.

Recently, bionic architecture can also be seen in Russia. In 2003, in St. Petersburg, according to the designs of architect Boris Levinzon, the “Dolphin House” was built (Fig. 20) and the lobby of the well-known clinic “Medi-Aesthetic” was decorated.

Rice. 20. Dolphin House. St. Petersburg, 2003

What is a bionic building? If we recall the design of the hobbit houses in the Lord of the Rings movie, we can say that these houses were built according to all the laws of bionics, but the film director only limited himself to elements of an organic idea.

The first impression of a building in the bionic style is that the buildings are knocked out of the correct geometry. The natural forms 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 materials opposing it. Thanks to the rhythmic play of the changing concave and convex surfaces of the walls of the structures, 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 forms and volumes. Color is the complement of form and the brightest manifestation of life.” In a bionic building, you feel immersed in a wonderful world filled with transparent color light. Color creates a special interior world, reviving and revealing materials that show through under a layer of paint. Color lives and moves according to its own laws. It seems that it affects the strengthening or weakening of the functions of the building and space.

In the bionic structure, due to the constantly changing balance of the interaction of desires and spatial possibilities, a person experiences a sensation of movement in peace, and peace in the movement of space. The slightest movement shifts the balance of forces, due to which the perception of space changes. Permanence and change, symmetry and asymmetry, protected intimacy and wide openness exist in a delicate balance. Both in motion and at rest there is always a sense of balance. In other words, the building is perceived as a living being with its own “space”, amazing, like a small universe!

Bionics as an architectural style allows you to create a spatial environment that would stimulate with its entire atmosphere exactly the function of the building, the premises for which the latter are intended. In a bionic home, the bedroom will be the bedroom, the living room will be the living room, and the kitchen will be the kitchen.

Rudolf Steiner said: “The spiritual aspect of the creation of bionic forms is associated with an attempt to realize the destiny of man. In accordance with this, architecture is interpreted as a "place" where the meaning of human existence is revealed.

Bionic forms are characterized by complex designs and non-linear forms.

The emergence of the term.
The concept of "bionics" (from the Greek "bios" - life), appeared in the early twentieth century. In a global sense, it denotes a field of scientific knowledge based on the discovery and use of the patterns of construction of natural natural forms to solve technical, technological and artistic problems based on an analysis of the structure, morphology and vital activity of biological organisms. The name was proposed by the American researcher J. Steele at the 1960 symposium in Daytona - "Living prototypes of artificial systems - the key to new technology", during which the emergence of a new, unexplored field of knowledge was consolidated. From this moment on, architects, designers, designers and engineers face a number of tasks aimed at finding new means of shaping.
In the USSR, by the beginning of the 1980s, thanks to the many years of efforts of the team of specialists from the TsNIELAB laboratory, which existed until the beginning of the 1990s, architectural bionics finally took shape as a new direction in architecture. At this time, the final monograph of a large international team of authors and employees of this laboratory was published under the general editorship of Yu. S. Lebedev "Architectural Bionics" (1990)
Thus, the period from the middle of the twentieth century. at the beginning of the XXI century. in architecture was marked by an increase in interest in complex curvilinear forms, the revival, already at a new level, of the concept of "organic architecture", which has its roots in the late XIX - early XX century, to the work of L. Sullivan and F. L. Wright. They believed that the architectural form, as in wildlife, should be functional and develop, as it were, "from the inside out."

The problem of harmonious symbiosis of the architectural and natural environment.
The technocratic development of the last decades has long subjugated the way of life of man. Step by step, mankind has left its ecological habitat on the planet. In fact, we have become residents of an artificial "nature" made of glass, concrete and plastic, the compatibility of which with the life of the natural ecosystem is steadily approaching zero. And the stronger the artificial nature captures the living, the more obvious becomes the need of a person for natural, natural harmony. The most likely way to return humanity "to the bosom of nature", to restore balance between the two worlds is the development of modern bionics.

Cypress skyscraper in Shanghai. Architects: Maria Rosa Cervera & Javier Pioz.

Sydney Opera. Architect: Jørn Utzon.

Rolex Training Center. Architects: Japanese architectural bureau SANAA.

Architectural bionics is an innovative style that takes all the best from nature: reliefs, contours, principles of shaping and interaction with the outside world. All over the world, the ideas of bionic architecture have been successfully implemented by famous architects: the cypress skyscraper in Shanghai, the Sydney Opera House in Australia, the NMB Bank board building in the Netherlands, the Rolex training center and the fruit museum in Japan.

Fruit Museum. Architect: Itsuko Hasegawa.


The interior of the fruit museum.

At all times there has been a continuity of natural forms in the architecture created by man. But, unlike the formalist approach of the past, when the architect simply copied natural forms, modern bionics relies on the functional and fundamental features of living organisms - the ability to self-regulate, photosynthesis, the principle of harmonious coexistence, etc. Bionic architecture involves the creation of houses that are a natural continuation nature that does not come into conflict with it. Further development of bionics involves the development and creation of eco-houses - energy-efficient and comfortable buildings with independent life support systems. The design of such a building provides for a complex of engineering equipment. Environmentally friendly materials and building structures are used in the construction. Ideally, the house of the future is an autonomous self-sustaining system that organically fits into the natural landscape and exists in harmony with nature. Modern architectural bionics has practically merged with the concept of "eco-architecture" and is directly related to ecology.

Form-building, passing from wildlife to architecture.
Every living being on the planet is a perfect working system adapted to the environment. The viability of such systems is the result of the evolution of many millions of years. Revealing the secrets of the device of living organisms, you can get new opportunities in the architecture of buildings.
Formation in living nature is characterized by plasticity and combinatoriality, a variety of both regular geometric shapes and figures - circles, ovals, rhombuses, cubes, triangles, squares, various kinds of polygons, and an infinite number of extremely complex and surprisingly beautiful, light, durable and economical structures. created by combining these elements. Such structures reflect the complexity and multi-stage evolution of the development of living organisms.
The main positions for studying nature from the perspective of architectural bionics are biomaterials science and biotectonics.
The object of study in biomaterials science is various amazing properties of natural structures and their "derivatives" - tissues of animal organisms, stems and leaves of plants, cobweb threads, pumpkin tendrils, butterfly wings, etc.
With biotectonics, everything is more complicated. In this area of ​​knowledge, researchers are interested not so much in the properties of natural materials as in the very principles of the existence of living organisms. The main problems of biotectonics are the creation of new structures based on the principles and methods of action of biostructures in wildlife, the adaptation and growth of flexible tectonic systems based on the adaptation and growth of living organisms.
In architectural and building bionics, much attention is paid to new building technologies. So 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 strong shells 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 any further.

Technologies of architectural bionics.
Here are some of the most common modern directions in the development of bionic buildings as an example.
1. Energy Efficient House - a building with low energy consumption or zero energy consumption from standard sources (Energy Efficient Building).
2. Passive Building (Passive Building) - building with passive thermoregulation (cooling and heating through the use of environmental energy). Such houses provide for the use of energy-saving building materials and structures and there is practically no traditional heating system.
3. Bioclimatic Architecture. One of the trends in hi-tech style. The main principle of bioclimatic architecture is harmony with nature: "... so that a bird, having flown into the office, does not notice that it is inside it." Basically, numerous bioclimatic skyscrapers are known, in which, along with barrier systems, multilayer glazing (double skin technology) is actively used to provide sound insulation and microclimate support, coupled with ventilation.
4. Smart House (Intellectual Building) - a building in which, with the help of computer technology and automation, the flow of light and heat in the premises and enclosing structures is optimized.
5. Healthy Building - a building in which, along with the use of energy-saving technologies and alternative energy sources, natural building materials (mixtures of earth and clay, wood, stone, sand, etc.) are a priority. Technologies " healthy" houses include air purification systems from harmful fumes, gases, radioactive substances, etc.

The history of the use of architectural forms in architectural practice.
Architectural bionics did not arise by chance. It was the result of previous experience of using in one form or another (most often associative and imitative) certain properties or characteristics of wildlife forms in architecture - for example, in the hypostyle halls of Egyptian temples in Luxor and Karnak, capitals and columns of ancient orders, Gothic interiors. cathedrals, etc.

The columns of the hypostyle hall of the temple at Edfu.

Bionic architecture often includes buildings and architectural complexes that organically fit into the natural landscape, being, as it were, its continuation. For example, the buildings of the modern Swiss architect Peter Zumthor can be called such. Along with natural building materials, he works with already existing natural elements - mountains, hills, lawns, trees, practically without modifying them. Its structures seem to grow out of the ground, and, sometimes, merge so much with the surrounding nature that they can not be immediately detected. So, for example, thermal baths in Switzerland from the outside seem like just a green area.

Baths in Wals. Architect: Peter Zumthor.

From the point of view of one of the concepts of bionics - the image of an eco-house - even village houses familiar to us can be attributed to bionic architecture. They are made of natural materials, and the structures of rural settlements have always been harmoniously inscribed in the surrounding landscape (the upper point of the village is a church, the lowland is residential buildings, etc.)

Dome of Florence Cathedral. Architect: Filippo Brunelleschi.

The emergence of this area in the history of architecture is always associated with some kind of technical innovation: for example, the architect of the Italian Renaissance F. Brunelleschi took an egg shell as a prototype for constructing the dome of the Florence Cathedral, and Leonardo da Vinci copied the forms of wildlife when depicting and designing construction, military and even aircraft. It is generally accepted that the first who began to study the mechanics of the flight of living models "from bionic positions" was Leonardo da Vinci, who tried to develop an aircraft with a flapping wing (ornithopter).

Gallery in Park Guell. Architect: Antonio Gaudi.

Portal of the Passion of Christ in the Sagrada Familia.

Advances in construction technology in the nineteenth and twentieth centuries. gave rise to new technical possibilities for interpreting wildlife architecture. This was reflected in the works of many architects, among whom, of course, Antonio Gaudi stands out - the initiator of the widespread use of bioforms in the architecture of the 20th century. The residential buildings designed and built by A. Gaudi, the Güell Monastery, the famous Sagrada Familia (Sagrada Familia, 170 m high) in Barcelona still remain unsurpassed architectural masterpieces and, at the same time, the most talented and characteristic example of the assimilation of architectural natural forms -- their application and development.

Attic ceiling Casa Mila. Architect: Antonio Gaudi.

Arched vault of the gallery in Casa Batlló. Architect: Antonio Gaudi.

A. Gaudi believed that in architecture, as in nature, there is no place for copying. As a result, his structures are striking in their complexity - you will not find two identical parts in his buildings. Its columns depict palm trunks with bark and leaves, stair handrails imitate curling plant stems, vaulted ceilings reproduce tree crowns. In his creations, Gaudi used parabolic arches, hyper-spirals, inclined columns, etc., creating an architecture whose geometry surpassed the architectural imaginations of both architects and engineers. One of the first A. Gaudi also used the bio-morphological constructive properties of a spatially curved form, which he embodied in the form of a hyperbolic paraboloid of a small flight of brick stairs. At the same time, Gaudí did not just copy natural objects, but creatively interpreted natural forms, modifying proportions and scale rhythmic characteristics.
Despite the fact that the semantic range of protobionic buildings looks quite impressive and justified, some experts consider as architectural bionics only those buildings that not only repeat natural forms or are created from natural materials, but contain the structures and principles of wildlife in their designs.

Construction of the Eiffel Tower. Engineer: Gustave Eiffel.

Bridge project. Architect: Paolo Soleri.

These scientists would rather call protobionics such buildings as the 300-meter Eiffel Tower of the bridge engineer A. G. Eiffel, which exactly repeats the structure of the human tibia, the bridge project of the architect P. Soleri, reminiscent of a rolled leaf of cereal and developed according to the principle of redistribution of loads in plant stems, etc.

Cycling track in Krylatskoye. Architects: N. I. Voronina and A. G. Ospennikov.

In Russia, the laws of wildlife were also borrowed to create some architectural objects of the “pre-perestroika” period. Examples include the Ostankino radio and television tower in Moscow, Olympic venues - a cycle track in Krylatskoye, membrane coverings of an indoor stadium on Prospekt Mira and a universal sports and entertainment hall in Leningrad, a restaurant in Primorsky Park in Baku and its link in Frunze - the restaurant "Bermet" and others
Among the names of modern architects working in the direction of architectural bionics, Norman Foster (http://www.fosterandpartners.com/Projects/ByType/Default.aspx), Santiago Calatrava (http://www.calatrava.com/#/Selected %20works/Architecture?mode=english), Nicholas Grimshaw (http://grimshaw-architects.com/sectors/), Ken Young (http://www.trhamzahyeang.com/project/main.html), Vincent Kalebo ( http://vincent.callebaut.org/projets-groupe-tout.htm l) etc.

If any aspect of bionics interests you, write to us and we will tell you more about it!
Architectural bureau "Intera".

Custom search

NATURE IN ARCHITECTURE

Architecture from birth carries the idea of ​​dominance over the native environment. The first type of construction of the Stone Age that has come down to us, from which the history of architecture counts time, is a menhir, a vertically placed block of stone. She proudly declares herself in the surrounding landscape, emphatically contrasting the horizontals of the earth with her aspiration to the sky. It may seem naive, but it is from here, from the menhir, that a direct road leads to Russian bell towers, Gothic cathedrals and Manhattan skyscrapers.

Since that archaic time, architecture has always sought to master the landscape, to occupy the most advantageous positions in it, to become its dominant. A fortress, a church, a manor invariably find their place on an elevated point of the relief, as if mastering the natural situation and spreading around the specific field of their architectural influence. Time has changed little the essence of this approach. One of the creators of modern architecture, Le Corbusier, said so when commenting on his idea: architecture spreads its waves in the surrounding natural landscape like a sounding bell.

Something else has changed - the very situation of an architectural structure standing apart in nature has become unique and highly uncharacteristic. The most common case was the setting of a building in the city, in close proximity to other buildings. The city forms a special type of artificial landscape in which, to use the Corbusier analogy, there is a multiple overlap and complex refraction of architectural "waves". Here you can hardly make out the "sound" coming from a separate structure - it drowns in the general rumble.

At first, while the city was relatively small, the urban landscape still reproduced the main characteristic features of the natural situation. The dominants of the buildings fixed the main points of the natural relief, the buildings emphasized the slopes of the hills and the river floodplain. But the city grew, its buildings grew, spreading to more and more new territories, leveling the unevenness of the relief, driving streams and even rivers into underground pipes. Now it was already a whole world that had almost completely lost its visual connection with its natural underlying basis - the second nature, which buried the first, real one under itself.

Gradually it became unclear what was more here - open street space or overlapped spaces enclosed in the walls of structures. In any case, the latter turned out to be more protected from burning, noise and other consequences of urbanization.

And then nature, retreating far beyond the city, expelled from its streets, enclosed in miserable reservations of city parks, suddenly began to revive inside the buildings themselves. Buildings pushed their walls apart, removed ceilings, despised all the canons of utilitarianism in order to take into themselves - no, not yet nature, but at least - symbols of nature.

Leaves of trees and jets of fountains rustle inside the buildings. There are already many such buildings. Huge, several floors high, the hall with a winter garden and a fountain has become an almost indispensable element of a large modern hotel or office building. This can be seen at the International Trade Center in Moscow. There are also more modest examples - the building of design organizations in Minsk.

Nature entered architecture. At the cost of considerable costs - here are financial and energy costs (extra cubic capacity!), And complex structures, and special engineering equipment. What is the reason for such waste? Socio-psychological factors? The desire to surprise, advertising? Perhaps this is partly. But why in this way? Indeed, in each, even seemingly completely random whim of fashion, there is a deep pattern. Perhaps behind all this there is a certain trend that makes it possible to run ahead, to correctly anticipate the objective development of impending events?

Nature is in architecture. Let's think about the paradoxical meaning of this formula, which turns the traditional concept of architectural space on its head. What by definition should be outside is inside. Wednesday enters the interior of the house. Everything is mixed up, the edges lose their clarity. The interior of the building becomes its face, in fact - its facade. The structure seems to be turned inside out. As a matter of fact, it ceases to be a house and becomes a fenced off part of the urban space. Fenced off - for now. The space of the building is preparing to become the space of the city.

And the focus, the culmination of this space is a mirror of water, a crown of a tree, a piece of land - particles of nature, albeit small, but real. Starting with the idea of ​​an invasion of nature, architecture gives up the holy of holies - its inner spaces - for the invigorating invasion of nature. Indeed, drive nature through the door, it will enter through the window.

In the motley and plentiful flow of today's architectural searches, it is not always easy to discern the real, healthy grains of the future behind random husks. But one thing is clear - a new attitude to nature in many ways transforms the nature of architecture itself. Visible evidence of this is the garden that blossoms inside the house.

Key Thought: Great Relay

Architecture came to people from ancient times.

More than once she threw off her usual appearance in order to appear before them renewed and full of strength. An antique order, a Gothic vault, a mirror wall of a skyscraper... It seems that there is something in common - every time you have to start over, learn everything from the very beginning. And now, when the book has come to an end, we peer into the changeable face of architecture, once again trying to see its future.

Throwing off the facade, fusing into a single whole of the spatial structure, adapting to the dynamic rhythm of life, to the specific needs of everyone and everyone, opening itself towards nature, architecture is again preparing to become different. One that we find difficult to imagine. And yet - as always, architecture.

Because no matter how much architecture changes, no matter how similar it may seem to its own recent past, its essence remains unchanged. Every time it is an attempt to organize human space. An attempt to bring into the non-spiritual physical world what is characteristic of human nature - reason and feeling, logic and beauty. Where she succeeded, her masterpieces remained. Where not, she started a new attempt.

The story about architecture will be continued in the next book. It will be about those stages on which the dramatic spectacle of architecture is played out - about the city. Turning the pages of this book, peering into the familiar features of that real, non-bookish city in which each of us lives, even habitually plunging into its daily bustle, let's always remember that next to us, along the streets and squares of the City, architecture carries its great baton . An art in which mathematics and poetry continue their irresolvable dispute, which goes into eternity.

At the end of the 19th century, pioneering architect Antoni Gaudí found inspiration for Barcelona's grandiose Sagrada Familia while walking through the woods. A hundred years after the amazing projects of Gaudí, a new trend appeared in architecture, called biometrics - the imitation of nature in man-made structures.

Nature is the best source of inspiration for architects

For several decades of its existence in architecture, biometrics has changed its content and general direction. At the very beginning, architects were guided by natural forms in the drawings of their projects, today they are interested not only in external beauty; the direction seeks to “understand” nature, its possibilities and the many ways in which nature makes the most of the minimum amount of resources.

Today, humanity is increasingly faced with the need to save resources, from electricity to territory, and biometrics suggests imitating not only natural forms, but also processes and structures by which a building becomes an active part of the natural world, without taking away resources, but rather adding them. Realizing the need to be close to nature, architects study termite mounds and anthills to understand the natural ventilation pattern. Roofs, facades and even walls of houses are used to grow plants and sometimes living organisms. We invite you to get acquainted with the most striking projects of biometric architecture.

Sagrada Familia, Barcelona, ​​Spain

Gaudi always considered nature to be the best architect, and each of his projects became a kind of ode to natural forces. The most majestic work of Antoni Gaudí is the Sagrada Familia, which is scheduled to be completed in 2026, exactly one hundred years after the death of the architect.

The interior of the cathedral, and especially the colonnade, is inspired by the image of a quiet forest. The columns, like the trunks of giant trees, shoot up, where they are illuminated by the sunlight that enters the cathedral through the green and gold stained glass windows.

Art Museum, Milwaukee, Wisconsin, USA

The most remarkable feature of the elegant building of the Milwaukee Art Museum is the sun roof, which resembles the wings of a bird and is controlled by a lifting mechanism capable of lowering and raising the 90-ton protective structure.

The architect, according to whose project the museum was built, Santiago Calatrava, drew inspiration from watching Lake Michigan, it is on its shore that the museum stands. The lake inspired the architect with the image of wings and sails, which was reflected in the design of the building.

Kunsthaus, Graz, Austria

The Kunsthaus has a biomorphic structure and is in great contrast to the historical part of the city in which it was built. The main architects looked for inspiration from nature, but did not try to imitate anything. The result of their labors was a building that locals and lovers of modern architecture dubbed "friendly alien." The Kunsthaus is equipped with a media façade, which makes it look more like a living being than a structure made of reinforced concrete panels.

National Theatre, Taichung, Taiwan

Architect Toyo Ito was inspired by natural caves, stone mounds and water currents. He managed to combine all this into one design, which became like a natural island of smooth lines and rounded shapes in the noisy and "rectangular" city of Taichung.

Mary Ax, 30, or The Gherkin, London, UK

The tower, shaped like a cucumber and located in the center of London, is one of the first buildings to rethink the concept of imitation of nature in architecture. In this project, it is not only the form and consumption of daylight and planting areas that are sustainable. The gherkin is built using an "exoskeleton", a structure that carries ventilation through the entire building. The architects were inspired by the nutritional process of the sea sponge, which passes water through itself. The absolute absence of corners near the building does not allow air flows to go down, thereby providing natural ventilation.

Eden Project, Cornwall, UK

A huge botanical garden with an area of ​​22 thousand square meters is located on the territory of an abandoned and cultivated quarry. On the territory of Eden grow species of trees, grasses and shrubs of tropical latitudes and the Mediterranean climate, as well as jungle flora. The garden consists of several domes, reminiscent of soap bubbles in shape and appearance.

Inside the spheres are divided into biomes - territories united by common climatic conditions and vegetation. In the center of "Eden" is an educational center that imitates the Fibonacci spiral - a shape that is repeated by pine cones, pineapples, sunflowers and snail shells.

Algae House, or Green House, Hamburg, Germany

The unique house in Hamburg includes in its design living organisms - microalgae that live in aquariums located within the walls of the building. These algae grow dozens of times faster than any other organisms on the Earth's surface and are regularly harvested and used as biomass for fuel production. Residents of such a house use 100% green energy. In addition to the energy function, algae regulate the lighting of the building. In sunny weather, they multiply rapidly and cover the walls of the aquarium with a green translucent veil, acting as a natural filter. In bad weather, the glass remains transparent and allows maximum daylight through.

Eastgate office building, Harare, Zimbabwe

The chief architect of this office and shopping center managed to design a house using the very natural ventilation of termite mounds. The idea came to him while watching a documentary about termites. The outer structure of the building, its facade are covered with holes, like skin with pores.

Architects call "Eastgate" the best example of biomimicry to date, and not only in construction and design. The result of Mick Pierce's idea was the concept of passive ventilation, a concept in which the building does not need a heating or air conditioning system, which saves on energy.

Downland Gridshell Building, Chichester, UK

This light and airy building is part of the open-air museum of the same name. Its construction was completed in 2002, the main material was thin oak planks, bent in such a way as to create a double curve, imitating the shape of a shell.

In addition to the natural form, the construction of the building resembles the process of building a nest, by interweaving thin twigs. Thus, a very light, but strong structure is created. The use of renewable natural resources and the location of the building in the heart of the forest make it even closer to nature.

The most perfect forms, both in terms of beauty, and in terms of organization and functioning, are created by nature itself and developed in the process of evolution. For a long time, mankind has borrowed structures, elements, constructions from nature to solve its technological problems. At present, technogenic civilization is conquering more and more territories from nature, rectangular shapes, steel, glass and concrete dominate around, and we live in the so-called urban jungle.

And every year, the human need for a natural harmonious environment filled with air, greenery, and natural elements becomes more and more tangible. Therefore, environmental topics are becoming more and more relevant in urban planning and. In this article, we will get acquainted with examples of bionics - an interesting modern trend in architecture and interior design.

Examples of bionics in architecture. Scientific and artistic approach

Bionics is a direction, first of all, scientific, and then creative. When applied to architecture, it means the use of the principles and methods of organizing living organisms and the forms created by living organisms in the design and construction of buildings. The first architect working in the bionic style was A. Gaudí. His famous works are still admired by the world (House Batlló, House Mila, Sagrada Familia, Park Güell, etc.).

House of Mila Antonio Gaudí in Barcelona
National Opera House in Beijing

Modern bionics is based on new methods using mathematical modeling and a wide range of software for calculation and 3d visualization. Its main task is to study the laws of formation of tissues of living organisms, their structure, physical properties, design features in order to translate this knowledge into architecture. Living systems are an example of structures that operate on the basis of the principles of ensuring optimal reliability, forming an optimal shape while saving energy and materials. It is these principles that form the basis of bionics. Famous examples of bionics are presented on the site.

Opera House in Sydney
Swimming complex in Beijing

Here are some of the greatest bionic structures in the world:

• Eiffel Tower in Paris (imitates the shape of the tibia)
• Beijing Swallow's Nest Stadium (outer metal structure follows the shape of a bird's nest)
• Skyscraper Aqua in Chicago (outwardly resembles a stream of falling water, the shape of the building also resembles a folded structure of lime deposits along the shores of the Great Lakes)
• Residential building "Nautilus" or "Shell" in Naucalpan (its design is taken from a natural structure - a clam shell)
• Opera House in Sydney (imitates the opened lotus petals on the water)
• Swimming complex in Beijing (facade design consists of "water bubbles", repeats the crystal lattice, it allows you to accumulate solar energy used for the needs of the building)
• National Opera House in Beijing (imitates a drop of water)

Bionics also includes the creation of new materials for construction, the structure of which is suggested by the laws of nature. To date, there are already many examples of bionics, each of which is distinguished by the amazing strength of its structure. Thus, you can get new additional opportunities for the construction of structures of various sizes.

Sculpture Cloud Gate in Chicago
Examples of bionics in interior design

Features of interior design in the style of bionics with examples

The bionic style has also come to interior design: both in residential premises and in the premises of the service sector, social and cultural purposes. Examples of bionics can be seen in modern parks, libraries, shopping centers, restaurants, exhibition centers, etc. What is characteristic of this fashionable style? What are its features? As in the case of architecture, interior bionics uses natural forms in the organization of space, in space planning, in the design of furniture and accessories, in decor.

Designers draw their ideas from familiar structures of wildlife:

• Wax and honeycombs are the basis for creating unusual structures in the interior: walls and partitions, furniture elements, decor, elements of wall and ceiling panels, window openings, etc.
• The web is an unusually light and economical mesh material. It is often used as a basis in the design of partitions, the design of furniture and lighting fixtures, hammocks.
• External or internal staircases can be made in the form of spiral or unusual structures created from combined natural materials, repeating the smooth natural forms. In the design of stairs, bionic artists most often start from plant forms.
• Colored glasses are also used in the bionic examples in order to create interesting lighting.
• In wooden houses, tree trunks can be used as load-bearing columns. In general, wood is one of the most common interior materials in the bionic style. Wool, leather, linen, bamboo, cotton, etc. are also used.
• Mirror and glossy surfaces are taken from the water surface and harmoniously fit in.
• An excellent solution is the use of perforation in order to reduce the weight of individual structures. Porous bone structures are often used to create interesting furniture, while saving material, creating the illusion of airiness and lightness.

Lamps also repeat biological structures. Luminaires imitating a waterfall, luminous trees and flowers, clouds, celestial bodies, marine life, etc. look beautiful and original. Examples of bionics often use natural materials that are environmentally friendly. The characteristic features of this direction are smooth lines, natural colors. This is an attempt to create an atmosphere close to nature, while not abolishing the amenities that man has acquired with the development of technology. Electronics fit into the design in such a way that it is not conspicuous.

The Aqua skyscraper in Chicago is an example of bionics in the interior design of the Swallow's Nest Stadium in Beijing

Examples of bionics in the interior include aquariums, interesting unusual designs and unique shapes that, like in nature, do not repeat. We can say that in bionics there are no clear boundaries and zoning of space, some rooms smoothly “flow” into others. Natural elements will not necessarily be applicable to the entire interior. Currently, projects with individual elements of bionics are very common - furniture that repeats the structure of the body, the structure of plants and other elements of wildlife, organic inserts, decor made from natural materials.

It should be noted that the key feature of bionics in architecture and interior design is the imitation of natural forms, taking into account scientific knowledge about them. Creating an environmentally friendly environment that is favorable for humans using new energy-efficient technologies can be an ideal direction for urban development. Therefore, bionics is a new rapidly developing direction that captures the minds of architects and designers.