natural landscape- the most important factor for the composition of any architectural object. There is a well-known expression: the building "fits" into the landscape. This implies its harmonious combination with the relief, the use of the effect of reflection in the mirror of the reservoir, scale relationships with arrays of green spaces, etc.

With relatively identical natural data, the appearance of a populated area or the compositional solution of a separate structure is determined architect's creative method, his professional skills, knowledge of national traditions, understanding of nature. Considering the landscape tasks of designing buildings and structures, it is necessary to highlight three levels:

- formation of architectural and landscape ensemble, the harmonious inclusion of architectural structures in the natural environment, the overall compositional relationship of architecture and nature, the maximum identification of natural prerequisites in the functional and compositional solution;

- detailed architectural and landscape study of open spaces, adjacent to buildings and formed by them, or the organization of their "architectural and landscape stylobate";

- the introduction of natural elements into the architecture of the house.

Recently, architects have begun to use architectural and landscape methods and means. And this is expressed not in individual details - devices for flowers and climbing plants on balconies and loggias, but also in the general method of designing from the landscape. It is especially important when the architect operates not with individual elements of the environment, but with significant fragments of the cultural landscape, forming architectural and landscape ensembles. The trend of convergence of architecture and nature also has more detailed aspects: the disclosure of the internal space and the visual unification of the interior with the external environment - the surrounding landscapes, the arrangement of loggias, terraces, balconies in buildings that provide a connection between the premises and nature, the architectural and landscape design of interiors through the use of a variety of living and inert materials - flowers, ornamental grasses, water, pebbles, etc.

Placement of architectural structures is a form of transformation of the natural landscape. This transformation can be positive (when the building is in harmony with the landscape in terms of form, material, texture, scale and other compositional qualities) and negative (when architectural structures are not just contrasting with the landscape, but even violate it).

In order to achieve a certain degree of consistency between architectural structures and the landscape, it is necessary to know a number of compositional techniques. The starting point is a comparison of the spatial forms of building and landscape. The architect often has to deal with such features and forms of the landscape that he can do little to change. He must take them into account when designing. These unchanging forms include river valleys, plains, lakes, mountain ranges and other large landscape forms.

Natural spatial forms are characterized by the following main properties: size, geometric view, texture, color, chiaroscuro, position in space. The natural background can be neutral or with pronounced large forms such as mountains, large hills, forests. A small country house in a mountainous landscape, where it is subordinated to the environment, and a large sanatorium complex in a flat area, where it dominates, are perceived differently.

The degree of consistency of buildings with the landscape depends not so much on their absolute size, but on their relationship. Geometric characteristics architectural structures can be consistent with landscape forms (the pyramidal shape of the building, its acute-angled silhouette reminds us of the surrounding rocks or spruce forest) or contrast with them (an extended multi-storey building-plate against the backdrop of a picturesque landscape).

Both architectural structures and landscape forms can have a massive or openwork spatial structure. The dissected building, the openwork structure of the building lead to a greater harmony of architecture with nature. An important role in coordinating the architectural structure with the landscape is played by material texture. The simplest structures made of natural materials - wood, stone, reeds - are most organically linked with the natural environment. The texture of artificial building materials (plastic, aluminum, etc.) contrasts with the texture of natural ingredients.

The dominant or subordinate position of a structure in the landscape is largely determined by its location: along the relief and in its depressions leads to consistency, across the relief and at its high points - to contrast. Buildings below the forest and in the middle of the forest are subordinated to the natural background, multi-storey buildings against the background of plantations are always in contrast. Thus, in order for the structure to be as consistent as possible with the landscape, it must have a small size, an openwork spatial structure, a geometric shape similar to the landscape forms, and a harmonious color combination of architectural and natural components.

The solution of architectural and landscape problems of organizing the immediate environment of buildings, separate open-air spaces must be approached as interior design, the creation of which combines the creativity of architects, artists, green building engineers, specialists in the field of urban landscape and landscape design. The harmony of man and nature, architecture and landscape will always be achieved if the architect, not formally, but creatively, relying on a certain amount of knowledge, proceeds in his search from the landscape situation, revealing and emphasizing its best qualities.

In a large city, a person is cut off from nature. To solve the problem of meeting the needs of the city dweller in communication with nature, to a large extent, it is possible not only by landscape and urban planning means, improving the water-green systems of the city, actively identifying local natural features in the building, but also introducing elements of nature and, above all, plants into buildings and structures.

Natural materials are used by architects both in the external and internal design of buildings. In the exterior - this is vertical gardening of facades, gardening and flower decoration of balconies, loggias, windows, architectural and landscape design of courtyards, terraces, flat roofs. Small architectural forms for landscaping balconies and loggias - floor and hanging boxes for flowers, lattices - for climbing plants, planters - for ampelous ones. It is necessary to achieve standardization and prefabrication of such equipment in order to avoid undesirable amateur activities that bring chaos to the architecture of buildings. Landscaping and flower decoration of loggias and balconies are the tasks of housing construction in the first place. One of the reasons is the need for constant care of plants, which is usually difficult in public buildings.

For planting ground flowers, wooden boxes 20-30 cm wide and 20-25 cm high are more often used (the length is determined depending on the overall room, the position of the loggia or balcony, the nature of their fencing, the type of device for vertical gardening, etc.). It is possible to use small forms of concrete, fireclay, plastic. Concrete products are painted with waterproof polymer paint or contain colored pigments in the textured layer. Metal parts are covered with oil paint. Wooden elements are best made from tinted wood, followed by a colorless waterproof varnish. Plant boxes are installed on the floor or on the handrails of the fence. In all cases, they must be securely fastened with special brackets and hooks with a thickness of at least 0.5 cm. Both mixed and homogeneous plantings are possible. . It is recommended to plant ampelous (hanging) or border plants (nasturtium, alyssum, lobelia, ageratum, tagetis, etc.) in the first row; in the second - pelargonium, tuberous begonia, zinnia, asters, petunias, etc., in the third - sweet peas, morning glory, beans, etc. For the northern facades, the choice of plants is limited, however, here you can also plant undersized ones: daisies, pansies, primroses, matthiola, alyssum; medium-sized: nasturtium, petunia, fragrant tobacco, calendula, gypsophila, fuchsia. In the loggias and on the balconies, mini-rockeries are sometimes arranged..

Integrated landscaping of residential buildings using high-quality equipment for plants made in the same style will significantly enrich the architecture of a typical residential building and increase the comfort of its environment.

A special area of ​​landscape creativity is terraced houses. Terrace gardens are, as it were, a continuation of the dwelling, the “green living room”. This issue is related to the organization of other types of roof gardens. In modern domestic practice, they are still not very common.

Homeland gardens on roofs and terraces - Assyria and Babylon. Bold constructive solutions include the "hanging" gardens of Babylon, created in the VI century. BC. The gardens of Pompeii, the “floating” gardens of Greece and Asia Minor, the luxurious gardens on the terraces of the Byzantine emperors, the gardens on the roofs in German cities, etc. are known from history. Since the 19th century, new economic and technical prerequisites for the creation of gardens on the roofs have appeared. In the XX century. The widespread development of flat roofs was reflected in the work of the architects Le Corbusier, Wright, Gropius and others.

Today it is impossible to talk only about gardens on the roofs. It is more correct to raise the question of the principles for organizing gardens on various artificial foundations - roofs, terraces, overpasses, floors of underground structures.

The arrangement of gardens on artificial grounds is associated with the solution of a number of socio-economic, environmental, technical and aesthetic problems. First of all, it is the economics of urban planning, the rational use of urban lands, which stimulate the creation of multi-level above-ground structures with platform areas, overpasses, terraces for pedestrian traffic, parking lots and landscaped places for short-term rest.

The multi-storey structure of the modern city development not only creates the preconditions for the effective use of flat roofs of low-rise blocks as additional places of recreation, open-air summer cafes, etc., but also sets purely architectural and artistic tasks. So far, in most cases, the windows and loggias of high-rise buildings offer an unsightly view of the black roofs of shopping centers, service blocks, etc. In summer, the roofing-bitumen surface of the roof overheats, emits excessive heat and harmful volatile substances, and in windy weather it produces dust.

Depending on the location relative to the ground level, gardens on artificial foundations are divided into above-ground (in the past - "hanging"); ground, located at ground level; and mixed type. These are gardens, respectively, arranged on the roofs of buildings or on other structures raised above the ground, above underground structures and on structures that are partially buried or adjacent to the slope of the area. Thus, gardens on artificial grounds include those architectural and landscape objects in which green spaces are separated from natural soil by certain building structures.

It must be borne in mind that arrangement of gardens on artificial grounds it is more economical and technically more reliable if these issues are resolved during the design of buildings and structures, and not during the subsequent adaptation of roofs and the corresponding technical reconstruction, their architectural and landscape enrichment. Landscape architecture has the greatest aesthetic and ecological opportunities for enriching the "fifth" facade of the city. With the arrangement of gardens on the roofs, the microclimate and the general landscape and artistic appearance of the city are improving. The problem of organizing gardens on artificial grounds is relevant not only for public centers and complexes, but also for industrial zones and residential buildings. On the territories of existing industrial facilities, it is often impossible to organize even small areas for short-term rest, while the flat roofs of buildings, as a rule, are empty. The high density of buildings in the old residential areas also does not allow increasing the area of ​​green spaces and playgrounds for children's games and adults' recreation.

Gardens are divided into operated and non-operated. The group of operated gardens assumes the active use of their area and is represented mainly by recreational and less often productive types (the latter are created for the purpose of growing flowers, vegetables, etc.). The group of unexploited gardens is subdivided into decorative and protective types. Ornamental roof gardens are not intended for people to visit, but serve purely aesthetic purposes, representing in fact decorative panels. Their coatings are made using both natural living and non-living (grass, mosses, flowers, low shrubs, stone, sometimes water) and artificial (ceramics, bricks, glass, plastics, etc.) materials. The protective functions of roof gardens are mainly related to the protection of buildings from excessive overheating, from solar radiation. According to the predominance of one or another material, water gardens (the most common type of protective garden in the south), vegetative and dry landscapes are distinguished. In the "dry landscape" inanimate materials are used - sand, pebbles, boulders, driftwood; sometimes following the example of a Japanese garden - mosses, small architectural forms.

Plant gardens are subdivided on gardens with a soil layer in the form of a continuous cover or several plots separated by paths and platforms, and gardens in which the earth is placed only in special containers - containers.

The garden on the ceiling of a five-story parking garage in Oakland, USA, as well as the garden on the roof of the museum buildings of the Smithsonian Institution in Washington (Fig. 3.), a garden with flowering shrubs, laid out on the roof of the back rooms of the circus in Sochi, and a decorative landscaping solution are widely known. flat roofs of the sanatorium "Primorye" in the same place, etc.

According to experts, the cost of building roof gardens is relatively low, they are determined by the difference in the cost of exploited and non-exploited flat roofs. The cost of roofs with a garden is no more than 2 times higher than the installation of non-exploited roofs.

From the development of the practice of arranging gardens on artificial grounds, one can expect a multifaceted effect:

- economic- rational use of valuable urban lands and obtaining additional usable area;

- ecological- improvement of sanitary and hygienic parameters of the urban environment;

- socio-cultural- development of a system of new places of communication and everyday recreation, improvement of the aesthetics of the urban landscape.

Rooftop garden plantings are selected from native (or long-established) plants that are best adapted to unusual growing conditions.

Lawn can be created on natural soil, carpet - on a synthetic basis as well as using hydroponics. Sometimes the lawn is replaced with unpretentious ground cover and even climbing plants, and mosses are also used. Flowers are usually planted in planters and vases, trees and shrubs - in tubs, special containers, rare in open ground. Sometimes trees planted in tubs, masked by hills of land with natural outlines. When arranging the vegetation, the mass of the soil, the force of the wind, the need for drainage and drains are taken into account. The placement of soil, plants is linked to the supporting structures of the building on which the garden is installed. One of the means of dematerialization of architecture is placement of buildings underground or their partial burial. Related to this is the use of "green roofs" as a new ecological trend in urban planning and architecture.

The green roof is used in the development of the campus of the Delft University of Technology, the dominant feature is a 40-meter concrete cone penetrating the green roof and closing the main compositional axis of the entire complex. The technological properties of the roof make it possible to maintain an optimal microclimate throughout the year. The ecological side of the architectural and constructive solution is important: rainwater is collected in special reservoirs along the sloping roof and is subsequently used.

There are various forms of implementation of the visual relationship "building - landscape", including the color harmony of the building and the landscape environment, mirror glass walls, as if "dissolving" the building in the reflection of the sky, plants, water, etc.

The introduction of natural elements into the interior spaces of buildings takes many forms. For the interior, visual connections with the surrounding landscape are important. This is achieved by opening the internal space “to nature” through panoramic windows, arranging loggias, terraces, sliding walls, etc. An independent task is to introduce natural elements into the interior - plants, stone, water, etc. In the architectural and landscape solution of the interior distinguish two aspects: the creation of winter gardens and the use of plants as architectural and decorative compositions.

Winter Garden- a garden of exotic plants grown in an artificial microclimate. The creation of winter gardens is quite difficult, since it is necessary to meet the special requirements for the temperature and humidity conditions of the room, lighting, and hence for the building envelope, heating and ventilation systems, natural and artificial lighting conditions, etc.

In practice, the latter is more common. view of naturalized interior- various forms of decorative landscaping and flower decoration of the premises of public and residential buildings. In public buildings, in addition to plants, pools, fountains, sculpture, inanimate natural materials - stone, sand, wood - are widely used. Plants in the premises play a sanitary and hygienic and decorative role. They accumulate fresh air, regulate temperature and humidity conditions, absorb noise, dust, of course, on a small scale.

The composition of the interior uses color, texture, pattern of leaves, flowers, silhouette, mass of plants and their other qualities. With the help of plants, space is divided, zoned. Various forms of execution are possible: a single plant (more often against the background of a clean plane of the wall); vertical gardening with climbing plants, arrangement of green borders, etc. Often different approaches are combined. The technique of landscaping residential, industrial and public buildings differs. If in a dwelling decorating with plants is the individual creativity of its owner, then in public and industrial premises it is one of the aspects of the architectural solution laid down in the project.

When using the decorative possibilities of a single plant details come to the fore: the pattern and size of leaves, inflorescences, shades of color. Single plants are placed against the background of a wall or a skylight in vases, pots in a recessed floor or on special stands. A variety of flower boxes are used in combination with furniture (tables, stands made of wood, metal, plastic).

play an important role in shaping the interior green borders. When designing them, attention is paid not to the individual qualities of individual plants, but to the silhouette of the border as a whole. By color, compositions can be found contrasting and neutral solutions. The location of the curb is possible in horizontal and vertical planes, along window openings, walls, movable screens, on the floor or in the recess of the floor, in the form of framing stairs that replace the balustrade. With a high location of green borders, variants of falling greenery from ampelous plants are possible.

Techniques based on the design of vertical planes with greenery, are also diverse. This is either a dense mass of curly greenery - a green curtain, or one branch, intricately creeping along the wall and forming a light transparent pattern, or separate scattered spots. For decoration with plants, both opaque vertical planes and trellis walls made of metal or wood are used. With the help of transparent partitions decorated with greenery, rooms are zoned, partially separated from one another.

Volumetric green compositions include free-standing specimens, their groups, entire garden corners. Expressive compositions in low flat vases. Several plants are planted in large pots, different in height, growth pattern, contrasting in the shape and texture of the leaves. A very fertile material is foam concrete. It lends itself well to processing, carving with ordinary tools. In the hollowed out holes, you can either plant plants directly or install flower pots.

In groups of plants placed on the floor plane or in a special recess, the space between the plants is filled to the floor level or to the edge of the curb with moss, pebbles, sand. Several large stones laid between the plants give the composition a natural look.

Landscape compositions, extended beyond the interior (on the terrace, in the adjacent strip) and separated only by the glass of windows and balcony doors, create the illusion of the unity of the external and internal spaces. It is common for display windows on the exterior and interior sides to arrange strips covered with pebbles. They have cacti on them.

In the landscaped interior, as well as in the small open-air garden, much attention is paid to the development of the ground plane, small architectural forms, and furniture designed for close perception. It is interesting when the foyer or vestibule is solved in several levels. Each level has its own vegetation, and as the height of the room increases, the contrast between tall plants on terraces with low ceilings and small plants in high rooms increases. The effect of naturalization is associated with the visible space of the park behind the glass, and the descending terraces evoke the feeling of descending along the relief.

So far, it is not possible to grow a birch grove or a group of apple trees in the interior when it is cold outside. Plants live in rhythmic cycles according to the seasons. Therefore, in interior conditions, southern heat-loving evergreens introduced in our conditions are used. However, attempts by dendrologists to include temperate plants in the interior should eventually succeed, and this will open up new opportunities for architects working in the field of interior design. Unfortunately, we have to state that in interior gardening, as well as in urban areas, unprofessionalism often prevails, leading to a departure from the main compositional intention of the author-architect, unsystematic, quantitative filling of rooms with plants, in many cases tasteless.

Often, landscaping and color design of industrial premises are associated with specific difficulties.. Not all plants can withstand constant artificial lighting, pollution, dusty air, etc. There are additional difficulties with the maintenance of plants in industrial premises. Due to dustiness, plants require additional care (rubbing, spraying). Experience has shown that where the dust content exceeds 3.8 mg/m 2 (for example, in the carding, roving shops of textile production), landscaping is inappropriate.

Illumination in the landscaping area should be around 800-1000 lux. Lamps (fluorescent lamps) are recommended to be placed directly above the plants at a height of 1 m. Despite the more difficult growing conditions for plants, specific agricultural practices, landscaping of workshops, including with artificial lighting, is possible.

Green areas in industrial premises are arranged taking into account the direction of movement of workers and intrashop transport, safety requirements - so as not to disturb the technological process. In recent years, artificial plants have been used more and more in industrial and public interiors.

Topic: Designing gardens, parks, forest parks.

Plan:

1. The main tasks of designing gardens.

2. Types of modern gardens.

3. Types of parks.

4. Organization of a modern park. Landscape assessment of the park territory.

5. Stages of park design.

6. Basic requirements for the functional areas of the park. Forest parks.

An environmentally friendly direction in the development of architecture is the use of the parameters of the structure and functioning of living systems when creating new principles for the functioning of buildings, new materials and forms. Green architecture is nature-like architecture.

The range of research in architectural and construction bionics includes the following issues: master plans for settlement sites, the shape and beauty of natural structures, the basic principles of the structure of natural structures, structural systems in nature and their use in architecture and construction (compressed, stretched and bending elements, foundations, shells, structures, membranes, nets), the structure of integumentary tissues in nature, passive and active natural materials, the biomorphism of artificial structures, organic connection with the landscape, the procedure for the growth of natural structures and their decomposition after performing functions, etc.

Some of the natural-bionic principles are valuable for sustainable architecture. For example, homeostasis, metabolism, feedback and response to changes in external influences, self-development and decay after the end of life, etc. The use of these principles in architecture will allow in the future to achieve a state of ecological balance by technological means.

Nature expressed itself most fully in the design of spatial structures (there are no flat elements in living nature). The study of the structure of natural forms: shells, skulls, egg shells - shows the extraordinary elaboration of structures, functional conditioning. Here, there is a good perception of distributed loads, and overlapping (braking) of cracks in order to prevent the destruction of material valuable for a living organism, and minimizing the consumption of materials. Shells as coverings of buildings and structures are nature-like, they are architecturally expressive, durable, they are rigid and lightweight structures.

In nature, an object becomes visible when there is a difference in brightness, color, or texture between it and the background. The greater the contrast between the object and the background, the better the quality of visibility, while the threshold of visual perception is the lowest value of the contrast between the object and the background, from which the object becomes visible.

Architectural diversity (similarity to biodiversity)

Much in the visual mood is formed by color, texture, scale and quality of interaction of visible objects. The emptiness of sensory experience is not nutritious for the development of the soul, if the qualities of the environment, even corresponding to needs, must still bring joy to life and spiritual vigor, we need variety, but not evenness without boundaries - temperature, light, all the same view in front of the window, all the same forms or a sequence of movements in space. As soon as there is variety, we begin to notice how one sensation relates to others. We begin to realize the zones of their contact. Most often, such contact is noticeable in the visible world. It is obvious that it is necessary to strive for diversity, similar to biodiversity in nature: a variety of sizes, shapes, details, colors (taking into account nature-likeness). It is desirable that the dimensions of the buildings correspond to the dimensions of the components of the landscape, primarily trees) and the human body.

Living nature does not obey the laws of symmetry. It can be assumed that buildings and structures also do not have to be completely symmetrical. An important role in the positivity or, conversely, the negativity of the visual perception of buildings and structures is played by the individual characteristics of people. It is known that some architects and ordinary people like skyscrapers, huge squares, wide avenues with streams of cars; this is apparently one of the manifestations of diversity. Therefore, in architecture, as in nature, a variety of solutions, a "charming variety" must be presented. Then the visual environment will be pleasing to the eye.

Ecological design should be aimed at creating a comfortable, healthy, beautiful environment for a person. In solving these problems, it may be useful to use the biodiversity that exists in nature (usually the number of species), the richness of which successfully maintains the stability of nature and the environment. Architectural diversity should apply to all objects of architecture - from the city, quarters, individual buildings and ending with their decoration.

Ecological architecture should support a variety of impacts. For example, in nature, human skin is almost constantly affected by wind of varying intensity; the humidity of the air in nature changes; the person's feet had previously been in contact with the ground and the person felt with their soles not a smooth floor or asphalt, but an uneven one; hundreds of thousands of years man was surrounded by non-flat surfaces of shelters and primitive houses, and at present - planes; a person touched environmentally friendly surfaces - grass, soil, warm tree bark, and at present - most often concrete, steel, glass, plastic; during the day, a person was affected by the changing temperature of the ambient air, and at present it is almost constant, etc. All these factors can be taken into account in the architectural design of a diverse environment in a building. In sustainable architectural design with diversity in mind, the following points can be considered.

1. The desire for a variety of architectural and landscape environments, avoiding the same type of landscapes. The presence of the whole variety of landscapes (rivers, streams, forests, fields, mountains, large parks, small gardens, many areas of natural and cultural nature, connected by "corridors"). Introduction to landscapes of local species of flora and fauna and original plants - introducers.

2. In order to create a more attractive image, it is necessary to strive for a variety of shapes, number of storeys and sizes of the building (similar to biodiversity in nature). Among the possible diversity is the limitation of the use of only planar forms and the introduction of curved surfaces, the use of combinations of curved and flat forms, different number of storeys and dimensions of the building, nature-like forms and sizes (including the correspondence of the sizes of buildings to the sizes of the components of the surrounding landscapes - trees, hills; compliance the dimensions of the premises to the dimensions of the human body).

The forms of buildings and engineering structures should be varied. The main direction is the use of various curvilinear volumes along with parallelepipeds. It is necessary to provide for the wide use of all forms of shells, from cylindrical and prismatic to hypar and complex composite shells. One of the areas of diversity is the use of ethnic architecture. All engineering structures must be made only from a variety of curvilinear spatial structures. The size of buildings and their number of storeys should be varied, similar to the variety of sizes of the components of the natural landscape - bushes and trees, hills and mountains.

The types of exterior decoration and color of buildings should be varied, like the variety of exterior coatings in nature. Taking into account the perception of color by the eyes of a person, the colors of the facade of the building and all other artificial surfaces should be selected. It is necessary to take into account the hue, saturation, brightness of the color. The most acceptable for the human eye are light warm colors: light green, light brown, orange, yellow and others, as well as frequently occurring natural colors - blue, blue, pink, etc. It is also necessary to take into account the nature of the effect of color - active exciting colors (red, orange, yellow), soothing (blue, cyan, purple) and neutral (green is the color of balance). To improve emotional perception, it is recommended to use well-perceived color combinations and consistent contrast - shifting your gaze from one object to another. It is necessary to take into account the harmony of the contrast of color combinations in terms of hue, saturation, brightness and the harmony of similarity with a smooth change in color characteristics.

With diversity in mind, growing and adaptive homes should be used. Growing and adaptive buildings change their appearance as they grow or adapt to new operating conditions.

3. A variety of building facades, colors, shapes and sizes of windows, loggias and balconies, architectural details and decorations. Forms of facades can be planar and curvilinear in various combinations. Facade decoration should be varied in terms of color scheme, artistic design, and not contain the same repetitive details. A variety of shapes of window openings is recommended - not only rectangular openings, but also oval, round, polygonal, irregular shapes.

4. A variety of layouts, room sizes, types of floor coverings, wall and ceiling finishes. The internal layout should change during the life of the building in accordance with changing needs and opportunities, including taking into account the personalization of the living space as its adaptation to the material and spiritual improvement of the individual. The living space changed by a person can be considered as one of the ways of self-expression (individualization) of a person. Therefore, internal layouts must be multiple and individual. There should be no concept of a given area for the entire life of the operation of the space. There must be a flexible living space that adapts in a variety of ways to the needs of the inhabitants.

The decoration of walls and ceilings should be varied in terms of color scheme, decoration, and should not contain the same repetitive details. Floor coverings can vary in smoothness: in some places where residents walk barefoot (bathrooms), the flooring can mimic the uneven surface of the soil and vegetation layer in order to actively influence the nerve endings in the soles. Wooden floors can also have varying degrees of roughness.

5. Variety of indoor microclimate. Day and night temperatures varying within small limits, humidity, constant air movement with varying speed, similar to a light breeze in nature.

6. Changing over time (flexible) layouts of premises, their shape, area, finishes, lighting, landscaping, etc. Changing adaptability (adaptability) of the building, changing the purpose of objects. Physiologically, man developed in a constantly changing visual environment, with constant changes in thermal, auditory and tactile influences.

7. Buildings must be flexible, sustainable. Here, an interesting direction is the application of the concept of natural metabolism to architecture. Natural metabolism (metabolism) as the main feature of living organisms can be effectively used in environmentally friendly architecture and construction. It is aimed at reducing material costs and minimizing the use of raw materials and energy. The fundamental law in the design process for an environmental architect is to minimize the necessary material resources and costs and reduce the impact of the building. Mimicking natural metabolic cycles means using building materials that are easily recycled and absorbed by the environment, or moved to another building or used for another purpose. According to the energy principle of natural metabolism, it is necessary to adapt the building to the regional climate so that it uses a minimum of energy during the operational phase. It is necessary to minimize the use of high quality resources, such as drinking water, during the life of the building.

organic architecture- a trend of architectural thought, first formulated by Louis Sullivan based on the provisions of evolutionary biology in the 1890s. and found the most complete embodiment in the works of his follower Frank Lloyd Wright in the 1920s - 1950s

Organics (Bionics)(from the Greek biōn - an element of life, literally - living) is a science that borders between biology and technology, solving engineering problems based on an analysis of the structure and life of organisms. Simply put, if you remember Leonardo da Vinci, who tried to build an aircraft with flapping wings like birds, then immediately imagine what organic 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" - Europe, spoiled by architectural delights, and the whole world, has not yet seen anything like it. These masterpieces of the great master gave impetus to the development of architecture in an organic style.

In 1921, bionic ideas were reflected in the construction Rudolf Steiner Goetheanum, and from that moment on, architects around the world took organic matter into "armament".

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 organic style. The most influential representative of organic architecture in Europe was Finn Alvar Aalto.

Style Features:

● Organic architecture is defined by forms that are not based on geometry. They are dynamic, wrong arising as a result of contacts with reality. However, each form of organic architecture should be considered as organism which develops according to the law of its own existence, its own special order, in harmony with its functions and its environment, like a plant or other living organisms.

● In contrast to functionalism, organic architecture sees its task in creating buildings and structures that reveal the properties natural materials and organically inscribed into the surrounding landscape. A supporter of the idea of ​​the continuity of architectural space, Wright proposed to draw a line under the tradition of deliberate separation of the building and its components from the surrounding world, which has dominated Western architectural thought since the time of Palladio. In his opinion, the form of the building should each time follow from its specific purpose and those unique environmental conditions in which it is built. In practical terms, Wright's "prairie houses" served as natural extensions of the natural environment, like the evolutionary form of natural organisms. The individualism of organic architecture inevitably came into conflict with the needs of modern urbanism, and it is not surprising that country mansions were the main monuments of this trend.

● In its essence, bionics, as an architectural style, seeks to create such 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 an organic 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 purpose of man. In accordance with this, architecture is interpreted as a" place "where the meaning of human existence is revealed."

At the beginning of the 21st century, attempts to transfer the principles of organic architecture to larger-scale structures and harmoniously fit into nature, creating a psychologically comfortable environment in urban conditions, gave rise to such a style asbio-tech(Bio-Tech) . This style is still at the stage of developing manifestos, but is already starting actively seize positions.

culture

Vestnik FEB RAS. 2006. No. 5

V.V. Isaeva, N.V. Kasyanov

Fractality of natural and architectural forms

In order to identify commonality and specific differences in morphogenesis in nature and architecture, some buildings and structures are considered in comparison with natural forms and fractal models. Architectural forms are more regular than natural forms and involve a small number of repetitions with their variations.

Fractal morphogenesis in nature and architecture. V.V.ISAEVA (A.V.Zhirmunsky Institute of Marine Biology, FEB RAS, Vladivostok), N.V.KASYANOV (Institute of the Theory of Architecture and Town Planning, Moscow).

Some buildings and constructions are considered in comparison with natural forms and fractal models in order to reveal common and specific features in architectural and natural morphogenesis. Architectural forms are more regular than forms of nature, and involve few iterations with variations.

Over the past decades, a vast new area of ​​interdisciplinary research has been rapidly developing, including nonlinear dynamics, fractal geometry, and the theory of self-organization. An interdisciplinary approach significantly expands the scope of scientific research, helping to identify common features of morphogenesis in living and inanimate nature. Fractal algorithms (rules of construction) in nature and human creativity were discovered by Benoit Mandelbrot (B. Mandelbrot). One of the most important characteristics of a fractal is scale invariance (self-similarity over a wide range of scales). The fractional value of the fractal dimension characterizes the degree of filling the space with a fractal structure, while the value of lacunarity is a measure of the heterogeneity of the fractal structure.

Many processes occurring in nature and society - from cosmic to social and physiological - are characterized by chaotic fractal dynamics. The fractality of natural objects is confirmed by the possibility of constructing very plausible computer landscapes of the virtual world based on simple fractal programs in which approximation to reality is achieved by a certain degree of irregularity by introducing random numbers. Plant morphogenesis is also successfully imitated by such programs. Modeling of animal morphogenesis at all levels of their organization is a dynamically developing area of ​​biology. Biological structures of complex spatial organization can be quantitatively characterized by determining the fractal dimension, which serves as an indicator of the morphological complexity of these structures. The involvement of fractal algorithms in biological morphogenesis provides compressed genetic coding. Fractal-like structures of living nature are characterized by a limited scale of repetitions and are less chaotic compared to fractals of inanimate nature; as a rule, these are multifractals, i.e. heterogeneous fractals.

ISAEVA Valeria Vasilievna - Doctor of Biological Sciences (Institute of Marine Biology FEB RAS named after A.V. Zhirmunsky, Vladivostok), KASYANOV Nikolay Vladimirovich - Candidate of Architecture (Institute of Theory of Architecture and Urban Planning of the Russian Academy of Social Sciences, Moscow).

The use of fractal geometry approaches makes it possible to reveal the similarity of a number of living and non-living objects, both natural and man-made. One example of such parallelism in shaping is provided by a comparison of geodesic dome structures with the organization of fullerene molecules, macromolecular complexes of multicellular animal cells, and skeletal structures of radiolarians (Fig. 1). Geodesic dome building structures were patented in 1954 by R. B. Fuller (1895-1983), an American inventor, architect and philosopher; in our country, M.S. Tupolev was engaged in such developments. Geodesic domes can be formed by a complex network of triangles that form a nearly spherical surface (Fig. 1a). Repeated divisions into triangles, characteristic of geodesic domes, form a fractal algorithm. Structures with such a triangulation division turned out to be not only promising in architecture, but also very similar to natural forms. In the 90s of the last century, a new substance was obtained - fullerite, consisting of carbon molecules, fullerenes (the etymology of the names of fullerenes and fullerite is very transparently connected with the name of Fuller). Fullerite is an allotropic modification of carbon, the third crystalline form of carbon (the two previously known forms are graphite and diamond). Fullerene molecules are a closed surface in the form of a sphere or spheroid, on which carbon atoms are located (Fig. 1b). The constructions of geodesic domes are also similar to some biological structures, for example, clathrin macromolecular complexes (Fig. 1c), a network of bundles of actin filaments in multicellular animal cells (Fig. 1d), and the skeletons of some radiolarians, unicellular organisms (Fig. 1e).

Visual arts and music also have fractal-like characteristics. Some examples of the use by artists of elements repeating at different scales, i.e. fractal sets are given by B. Mandelbrot. Studies of the traditional music of Japan, India, Russian folk songs, American blues, the music of Bach, Beethoven, Debussy, Strauss led to the conclusion that music has common features with the dynamics of natural processes, imitating the natural changes of our world in time. A work of art is pleasant and interesting, provided that it is not too monotonous and at the same time does not harbor too many surprises; music is pleasing if it has changes in key on many frequency scales and changes in rhythm on at least a few time scales. The computer image of the Mandelbrot set can be translated into sounds and get music with repeating and changing "themes". The transcription of a human electrocardiogram into sounds gives "songs of the heart", music synthesized according to the algorithm of chaotic cardiogram fractals (see).

The use of self-similar forms repeating at different scales, i.e., in essence, fractal construction rules, is also widespread in architecture. The well-known assimilation of architecture to frozen music (JV Goethe) is deeply justified: both music and architecture are fractal. Works of architecture include many scales of length and elements of self-similarity: the similarity of parts and the whole, the subordination of individual elements to the whole (Fig. 2). Architectural fractal structures are more ordered than natural ones. The fractality of many architectural forms is very obvious and lies literally on the surface (as a rule, on the facade). Mandelbrot was the first to write about the fractality of architecture and cited the architecture of the Paris Opera building, a work of "fine" art (architect C. Garnier), as an example of fractal creation. M. Schroeder, as an example of self-similarity in architecture, calls the Castel del Monte castle, built according to his own project by the Holy Roman Emperor Frederick II. This castle is a regular octagon in plan, to the tops of which eight powerful towers are attached, each of which also has the shape of a regular octagon in plan.

Rice. Fig. 1. Fractal partition: a - layout of a geodesic dome; b - structure of fullerene molecules; c - clathrin sphere; d - system of bundles of actin filaments of the cytoskeleton; e - the skeleton of one of the radiolarians

Rice. 2. Self-similarity of forms in architecture: a - the building of the Historical Museum in Moscow; b - post office building in Vladivostok; c - Indian temple architecture, complex in Khajuraho Fig. Fig. 3. Fractal prototypes and architecture of pyramidal facades, bell towers: a - Sierpinski's "napkin", built from squares; b - fragments of facades of Gothic buildings in Germany; c - bell tower (Kashira) Fig. Fig. 4. The similarity of the outlines of the graph of the Weierstrass function (a) and the silhouette of the Milan Cathedral (b)

The principles of fractal-like shaping in architecture have been used since ancient times, but only by the end of the 20th century, after the appearance of Mandelbrot's books, the use of fractal algorithms in architectural morphogenesis becomes conscious. Ch. Jenks described the transition to a new paradigm in architecture under the influence of the sciences of complex systems, including fractal geometry and nonlinear dynamics. Several key buildings built by Frank Gehry, Peter Eisen-man and Daniel Libeskind look like the first manifestations of this new architectural paradigm. Modern architectural trends, operating with images of complex surfaces, mathematically described by non-linear equations, can be conditionally called non-linear architecture. C. Jenks and I. A. Dobritsina wrote about the non-linearity and fractality of architecture in a general declarative form. The fractal geometry of B. Mandelbrot is used to a certain extent for the analysis of architectural forms in the book by K. Boville, the only monograph on fractals in architecture so far, in which a smaller part of the book is devoted to architecture itself. In a number of articles and Internet sites, elements of the architecture of Gothic cathedrals, baroque style, Indian temples that are repeated at different scales are noted, an analysis of repetitions in classical order forms is carried out.

Fractal formalization was applied by Bovill to the rows of buildings along the streets and to determine the fractal dimension of some architectural structures (including F.L. Wright and Le Corbusier) by counting squares; such an analysis establishes an aesthetic rationale for evaluating architectural design, allowing recommendations for moving away from the deadly monotony of standard architecture. However, attempts to quantitatively relate the high value of the fractal dimension (reflecting the fragmentation of detail) with architectural expressiveness do not give much for understanding the fractal rules for constructing architectural forms. The value of the fractal dimension can serve only as a formal characteristic of the spatial complexity of an object that does not take into account more important qualitative characteristics. Although fractals are usually associated with richness of form, fractals can be aesthetically uninteresting, even boring. On the contrary, in architecture there are structures that are practically devoid of fractal characteristics and at the same time are very expressive - for example, massive non-linear forms. Fractal prototypes of architectural forms have not actually been shown yet.

The purpose of our work was to search for the simplest graphical fractal images that visualize some archetypes of facades, plans and three-dimensional architectural forms, and to use simulation computer modeling for a qualitative, rather than quantitative, analysis of essentially fractal algorithms of architectural structures, which, as a rule, were not realized by their architects and builders in terms of fractal geometry. In a broader aspect, this task is part of the problem of identifying the parallelism of shaping in such different worlds as inanimate and living nature, on the one hand, and man-made forms - both real architectural and virtual (computer) - on the other. A modern scientific approach using fractal geometry, as well as topology and nonlinear dynamics, is able to reveal many similar directions and solutions of morphogenesis here, including previously undiscovered aspects of shaping and the creation of potentially new architectural forms. Referring to Mandelbrot: "graphical representation is a marvelous means for comparing models with reality", consider some graphical fractals as prototypes of architectural facades and plans.

The Sierpinski algorithm (the so-called Sierpinski napkin, built in this case from squares) at the first stages of construction gives a prototype of such places of worship as step pyramids; vertically elongated buildings of a similar archetype -

temple and fortress towers, bell towers (Fig. 3 a-c). Of course, infinite repetitions of any structure in architecture are impossible, real architecture usually contains few repetitions, so fractal models that imitate architectural structures (or reveal the "genetic code" of architectural objects) are protofractals (Mandelbrot's term for fractal structures with few repetitions) . In addition, in architecture, as in music, exact repetitions are rare, while variations of the theme and image are common.

For the silhouette of temples with many vertical repeating elements, a graph of the Weierstrass function (Fig. 4 a, b) can serve as a metaphorical prototype - a classical fractal function that does not have derivatives at any point (accordingly, it is impossible to draw a tangent to any point on the graph), open at the end of the 19th century. Undoubtedly, the architects and builders of Milan and similar cathedrals were not aware of the function of Weierstrass, and we do not claim that the silhouette lines of the cathedral exactly follow the graph of the function - this graph only gives a visual metaphor for such architectural forms.

The Cantor set is another fractal algorithm suitable for describing architectural forms with symmetrically arranged parts of different heights, which is quite common in architecture (the simplest architectural technique - a reduced likeness of the entire building rises in the middle of the building). The fractal structure of the classical Cantor set is discrete, while connected fractals, such as Sierpinski's "napkin", are more suitable as architectural prototypes. The connection of discrete sections of the Kantor set gives a connected fractal (Kantor's comb, Fig. 5b) - the prototype of the "Stalin skyscraper" and similar buildings. The Cantor set with lacunarity variations (Fig. 5c) can be modified in the simplest way, obtaining, for example, a graphic morphotype (Fig. 5c, d), similar to the architectural forms of Indian temples. The fractal algorithm for constructing a discrete Cantor set is similar to the algorithm for shaping a dichotomously branching tree - a connected fractal. An inverted dichotomous tree is a generalized "architectural code" of the morphogenesis of soaring religious buildings, the hierarchical construction of which expresses the idea of ​​the presence of higher powers.

The morphogenesis of non-linear fractals generates the dynamics of images that undergo endless metamorphoses in virtual space, with the emergence of complex forms similar to biological and architectural ones. Architectural decor, ornamental patterns of lattices and fences often resemble non-linear fractals (Fig. 6).

The fractal features of the church's many domes can be considered on the example of a masterpiece of Russian wooden temple architecture - the famous Transfiguration Church of the Kizhi Pogost in Karelia (Fig. 7a). A computer model built by one of the authors visualizes the location of the domes of the Church of the Transfiguration (Fig. 7 b, c). The multi-domed wooden churches of the Russian north constitute a morphologically related series: the prototype of the Transfiguration Church of the Kizhi Pogost (1714) was the Intercession Church of the Vytegorsky Pogost in the village of Anhimovo, Vologda Region, built in 1708 and destroyed by fire in 1963. Location and dimensions of the domes of the multi-domed churches , conditionally shown in one plan plane with axial symmetry, in the most general form are reduced to a simple fractal algorithm of Sierpinski's “napkin” variant (Fig. 7d).

One of the universal fractal algorithms, spiral, widely used in inanimate (from the trajectories of elementary particles to cyclones and galaxies) and wildlife (mollusk shells, horns of ungulates, curls of plant shoots), as well as in architecture and design (Fig. 8), gives many similar solutions of morphogenesis. Three-dimensional implementation of the spiral decor in the form of parallel or unwinding

opposite directions and intersecting spirals is embodied by the domes of St. Basil's Cathedral (Fig. 8a). "St. Basil's Cathedral is a bizarre golden section fractal, defined by at least eight members of the golden section series". The chords of golden proportions and other fractal ratios create an architectural symphony of this temple.

Architects are aware of such implementations of the three-dimensional spiral algorithm as Tatlin's tower (a model of a monument to the Third International) and a similar design of the spiral completion of the building at Patriarch's Ponds (Fig. 8f).

The visual interpretation of the “golden section angle” gives a fractal algorithm that manifests itself in wildlife, ornaments and architecture. The computer-generated image of a “sunflower” (Fig. 8b), where a step equal to the “golden angle” is used as an angular increment, is very close to the real picture of the arrangement of sunflower seeds (Fig. 8d), which is less ordered compared to the ideal computer model . A similar arrangement, called phyllotaxis (phyllo - leaf, taxis - movement), is characteristic of leaves on a stem (or their derivatives), for scales of cones of coniferous plants; moreover, the number of rows twisted in one direction and the number of rows twisted in the other direction are two adjacent Fibonacci numbers. At the subcellular level, a similar feature is manifested in the arrangement of tubulin dimers in microtubules - structures of the cytoskeleton.

The simplest and most general three-dimensional fractal model of far from beautiful typical building-boxes can be Menger's "sponge" (Fig. 9a), the structure of the internal space of which is shown in Fig. 9b. In the most general form, we can say that the rectangles of the windows are like a whole rectangular building, and the parallelepipeds of the interior are like the entire “box” of the building. Undoubtedly, even the most primitive panel house was built not exactly according to Menger's "sponge" algorithm, however, fractal geometry includes objects, the element of which can be repeated at different scales and can be additionally deformed, changed in accordance with the multifractal construction program. A fractal building can be built from parallelepiped bars (and include parallelepiped voids), which can be shifted, rotated, compressed: fractal algorithms allow compression, rotation, nonlinear transformations of the original shape. With the randomization of such algorithms, a certain heap of transformations, forms arise that are similar to the architecture of postmodernism and deconstructivism.

So, for different types of architectural structures, one can find a fractal analogue, two-dimensional or three-dimensional, and thereby reveal their fractal algorithm. Model fractals such as the Cantor set and the Menger sponge can serve as quite adequate models of architectural morphogenesis. Of course, in contrast to the relatively simple and regular geometric and computer fractals with infinite

Rice. 5. Cantor's set as a prototype of architectural forms: a - Cantor's set; b - Cantor's comb; c - Cantor set with different lacunarity; d - its simplest transformation. Fig. 6. Nonlinear fractals and similar forms of decoration of metal fences: a, b - Julia sets; c - fragment of the Mandelbrot set; d - the lattice pattern of the balcony of the Vladivostok GUM; d - rococo lattice gate leaf in Würzburg, Germany

Rice. Fig. 7. Church multidomed and fractal model: a - Church of the Transfiguration of the Kizhi Pogost; b, c - computer model of this church: facade fragment (b), roof plan fragment (c); d - version of Serpinsky's "napkin"

Rice. 8. Spiral algorithm and forms of nature, architecture and design: a - St. Basil's Cathedral; b - computer model of phyllotaxis; c - logarithmic spiral; d - sunflower phyllotaxis (for clarity, some of the seeds have been removed); e - spiral pattern of the fence (Ryabushinsky's mansion in Moscow); e - spiral completion of the building on the Patriarch's Ponds

Rice. Fig. 9. Three-dimensional model of Menger's "sponge": a - appearance; b - the structure of the internal space

repetition of the same form, the architecture applies the rules of construction using a limited number of repetitions, changing the rules for their construction, violation of strict similarity by introducing many variations, i.e. protofractals, multifractal and irregular algorithms are used.

As a rule, the search for formulas of harmony and beauty of architectural forms is carried out during the analysis of creations already created by outstanding masters. It is known that the concept of the famous golden ratio, used by Phidias in the construction of the Parthenon, appeared two centuries later in Euclid's Elements, and the term "golden section" itself was introduced by Leonardo da Vinci more than a thousand years later. Both the use of fractal construction rules in architecture since ancient times, and the use of the golden section, of course, were not conscious in terms of later concepts and far from always turned out to be mathematically verified; in the search and creation of artistically expressive proportions, architects were guided by their intuition and sense of harmony. And in our time, architects are far from always aware of the ubiquity of the fractal construction of architectural forms, just as the character of Molière did not know what he was saying in prose.

The fractal approach is not a panacea, as Mandelbrot himself wrote, and not at all a new era in the history of mankind, but only a new, but quite effective way of analyzing, and potentially designing, architectural forms, which can significantly enrich the language of architectural theory and practice.

The famous Spanish architect A. Gaudi gave a new interpretation of Gothic forms in his Sagrada Familia Cathedral - forms similar to natural ones; Gaudí left Euclidean geometry, symmetry and regularity. The fractal-like forms of the cathedral, similar to a sand castle, are represented by chaotic, irregular fractals inherent in nature. Modern concepts of nonlinear science give rise to a new concept of the relationship between order and chaos as a state that includes elements of unpredictability, irregularity, mystery, similar to the richness and originality of natural forms. The use of the concepts of nonlinear dynamics opens up the prospect of a correct analysis of the relationship between regularity and irregularity, randomness, and asymmetry. The aesthetics of non-linear forms with elements of chance is formulated by G. Eilenberg: “Why is it that the silhouette of a tree bent by storms without leaves against the background of the evening sky is perceived as something beautiful, and any silhouette of a highly functional university building does not seem so, despite the efforts of the architect? ...Our sense of beauty arises under the influence of the harmony of order and disorder in natural objects - clouds, trees, mountain ranges or snow crystals. Their outlines are dynamic processes frozen in physical forms, and a certain alternation of order and disorder is characteristic of them. At the same time, our industrial products look somehow ossified due to the complete ordering of their forms and functions, and the products themselves are the more perfect, the stronger this ordering. Such complete regularity does not contradict the laws of nature, but we now know that it is not typical even for very "simple" natural processes. Science and aesthetics agree on what is lost in technical objects compared to natural ones: the luxury of a certain irregularity, disorder and unpredictability.

The trend of organic embedding of structures in the natural environment, the integration of natural and anthropogenic landscapes are manifested in the similarity of lines, surfaces and forms in architecture and design to natural forms. This trend is clearly expressed in Art Nouveau and "organic" architecture. Widely used at the beginning of the 20th century. in modernist architecture, plastic, "fluid", asymmetric, biomorphic lines, surfaces, "flowing" floral decor, relief images of heads give buildings a resemblance to a living developing organism, imitate the irregularity of natural forms.

architecture of the late 20th century. also characteristic is the use of biomorphic metaphors - anthropomorphic, zoomorphic, phytomorphic, as well as plastic geomorphic forms, as if growing naturally from the earth, with the organic integration of architecture and natural landscape. In our time, a deeper awareness of the unity of the natural and anthropogenic environment and the unity of the principles of shaping in "living" and "inanimate" nature is coming, supported by the concepts of nonlinear science. The modern scientific approach can be successfully applied to the search for architecture that is adequate to the harmony of order and chaos of the natural environment, architecture that can become a semantic dominant in the natural and historical context, the spirit of the place (genius loci).

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IMAGESNATUREATARCHITECTURE

The development and emergence of new forms of social life, the achievement of scientific and technological progress, the introduction of spatial structural systems and effective building materials - all this led to the birth of new properties of the architectural form, which, like the "classical" properties known to us, participate in the formation of its beauty. At the same time, an interesting process takes place: the tendencies of shaping in modern architecture (within the accepted concept of "abstract form", "structure" or "system") begin to converge, as it were, with the forms of wildlife, approach asymptomatically (never, of course, never approaching) to them by its properties, which are the result of the interaction of function, form and technology.

Aesthetic feelings evoke the properties that we observe in wildlife, which are associated with great achievements in architecture that have passed through decades of scientific and technological progress and the scientific and creative thought of architects and engineers of the 20th century.

These include the outwardly pronounced physical lightness of natural forms with great possibilities of resistance to mechanical stress; a free-flowing space characterized by versatility and transparency, which promotes deeply penetrating visual observation and holistic perception; structuring space; the alternation of various forms, structures, masses and spaces with gradual transitions, carried out with the help of the mechanism of the law of differentiation and integration; plasticity of forms; elastic and light bends of solid and wide surfaces, similar to shells made of reinforced concrete and plastics - shells used in architectural practice; dynamism - both real movements and a figurative expression of the growth and development of forms, etc.

Architectural bionics seeks to study the objective regularities in the manifestation of these properties and find their application in architecture not only in order to solve purely practical problems - designing, creating enclosing surfaces, organizing the environment, etc., but also aesthetic tasks related to the harmonization of the function , forms and techniques.

However, not only today, but, apparently, throughout the entire existence of architecture, architects artistically comprehended, bringing to figurativeness, the above properties of the forms and space of nature, often without thinking about the functions that determine them and without connecting them with the latter. And yet, not only did this not contradict the needs and development of the human spirit, but in many cases it was necessary for its exaltation, for the fulfillment of great social tasks by means of the art of architecture.

The forms of nature, their spatial combinations became, in certain cases, prototypes of artistic architectural forms. For example, the motif of lotus thickets was interpreted in the colonnade of Egyptian temples, the motif of the forest - in the interiors of Gothic cathedrals, which gave them not only expressiveness, but also an ideological mood.

The dynamics of development, growth, vitality in architecture is often symbolically expressed in the form of a spatial spiral, even if this technique is not necessary from the point of view of function (but does not contradict it either). In wildlife, a spiral is a functional manifestation of the rationality of growth and development of organisms: spiral shells, a spiral arrangement of leaves on plant stems, a spiral arrangement of petals and flowers, etc.

The problem of dynamics has always worried architects. If now there are technical conditions for constructing truly mobile architectural forms, then in traditional architecture, when it was necessary, architects sought to express the idea of ​​dynamic form by illusory means.

Rice. 99. Pavilion of Bulgaria for EXPO-70 in the form of an opening rose flower. Competitive project (2nd prize). Archite. Matey Mateev (NRB)

Rice. 100. Monument to Christopher Columbus. Competition project. 1930 Architect. K. S. Melnikov (USSR)

As a result of the practice of architecture, a number of techniques have been developed that contribute to the achievement of dynamic expressiveness of architectural forms. Modern architects also do not refuse to create images of movement.

In 1969-1970. Bulgarian architect M. Mateev submitted to the competition (and won the 2nd prize) the project of the Bulgarian pavilion at EXPO-70 in Osaka (Fig. 99). He took a rose as the basis of the image and gave it a "dynamic" form of a bud ready to bloom. In this decision of the architectural image, the choice of a rose seems to be quite justified: this is not a copy of a natural form, but an artistic interpretation of a flower popular in Bulgaria in an architectural work.

When creating the image of the monument to Christopher Columbus (1930), which is supposed to be built in the area of ​​the landing of the crew of his ship on American soil, architect. K. S. Melnikov used the "struggle" of two cones: the cone of stability and the cone of growth, symbolically expressing all the difficulties of navigation and, as a result, victory. He “inspired” the latter in the full sense of the word, attaching wings to the upper cone (growth cone), which made it rotate by the force of the wind (Fig. 100). It is known that in living nature the "confrontation" of two cones is a characteristic trend, clearly manifested, for example, in the shape of the crown and trunk of spruce, in the development of fungi, etc.

Living nature can evoke even more deeply hidden sensual associations, for example, in connection with the growth and desire of organisms for light, sun, warmth, their vitality - the affirmation of a healthy principle, manifested in fresh and bright colors, in the elasticity of tissues, in certainty and constant in the nature of their form - the vital immediacy of diversity, even seeming randomness (like a city that has been formed over many centuries and has absorbed the styles of different eras).

Is it appropriate in bionics to use these associations in architectural forms? It is quite appropriate if they are correctly interpreted and do not contradict the humane goals of architecture. The ways of their expression in architecture are suggested by living nature. Obviously, the use of the aesthetic laws of natural harmony cannot completely replace the artistic and figurative expressiveness that is inherent in architecture as a social phenomenon, but the possibilities of architectural bionics are enormous here,

It seems that associative thinking contributes to the understanding and reproduction of a holistic image, the harmony of forms of wildlife and architecture. It is especially important for understanding "something" and many changes in forms that often escape the "eyes" of science at the present stage of knowledge of living nature.

This is also noted by the architect. I. Sh. Shevelev, saying that the harmony of form G achieved without connection with associations, does not affect the depths of human consciousness, is not addressed to what is stored in human memory. But, emphasizes I. Sh. Shevelev, the art of 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 architectures, they are not the same. Antique architecture, for example, is associated with man, while ancient Russian architecture appears to be associated with images of nature.

Sometimes the question is asked: will architecture lose its national identity due to the use of the laws of shaping wildlife, which would be unacceptable from the point of view of the development of national cultures.

We are convinced that if this happened, it would not be the fault of architectural bionics. On the contrary, architectural bionics helps to find another way to develop national features, namely in the aspect of interpretation of regional, local forms of wildlife in their integral, spatial ecosystem. The latter is, however, far from the only, but an integral part of the national environment.

At the same time, architectural bionics does not narrow architecture to a narrowly national one, since many patterns and principles of organizing living forms are universal, not to mention the fact that the use of the laws of shaping living nature is not self-sufficient and is subject to the main, social function of architecture.

The last and highest stage of the architectural-bionic process should be social practice, which awakens new needs for bionic methods and can correct old prejudices against them. Architectural-bionic practice is capable of developing and enriching this architecture to such an extent that, in fact, completely new harmonious architectural-bionic systems, complexes, town-planning natural units will arise.