Bionic lattice. Bionics in architecture: application, forms. The Bahai Temple in the capital of India - New Delhi, was built according to the design of the architect Fariborz Sabha and is a complex structure of marble fragments - stylized lotus petals

People have always strived for comfortable housing, but have not always paid attention to the external appearance of architecture. An example of this is the architecture of Soviet times, which is characterized by constructivism, rationalism, and brutalism, which is completely opposed to the principles of bio-tech - “neo-organic” architecture. Bionic architecture, to a greater extent, looks more elegant and aesthetically pleasing compared to the angularity and straightforwardness of constructivism. We can see this from the surviving architecture of the Soviet era.

Today, bionic forms have become widespread in the environment surrounding humans, starting from the ancient world, when they first began to use natural forms in jewelry, furniture, weapons, and to the present day. Lately more and more bioforms- .(from the Greek bios - life and morphe - form) living forms influence everything that is created by man, from household appliances and medical equipment to entire cities. With the development of technology and the emergence of new materials, the possibilities for using bionic forms in design and architecture are becoming almost limitless. Referring to all of the above, the relevance of the topic I have chosen cannot be disputed.

The concept itself bionics appeared at the beginning of the twentieth century. The name of the science “bionics” was first proposed by the American scientist Jack Steele and adopted at the First Symposium on Bionics, held in Daytona (USA) in 1960 (Soviet scientists took part in the symposium: A.I. Berg, B.S. Sotskov etc.) In architecture textbooks we could read the following: Bionics(from the Greek bion - element of life, literally - living) is a science bordering biology and technology, solving engineering problems based on an analysis of the structure and vital activity of organisms. If you remember Leonardo da Vinci, who tried to build a flying machine using bird wings, then you can immediately imagine what the bionic style is like. It was he who came up with the first ideas for using knowledge about living nature to solve engineering problems.

Having made an analysis of everything I have read regarding bionic architecture, I will try to give my own characteristics. ionics- this is the science of using principles similar to a living organism in the construction of buildings; all prototypes are taken from living nature. The basis of bionics is research into modeling various biological organisms.

I will give a small classification of bio-tech, they distinguish:

1. biological bionics, which studies the processes occurring in biological systems;

2. theoretical bionics, which builds mathematical models of these processes;

3. technical bionics, which uses models of theoretical bionics to solve engineering problems;
4. architectural bionics, which we will talk about later.

Architectural bionics

In world architectural practice over the past 40 years, the use of patterns of the formation of living nature has acquired a new quality and is called architectural bionics.

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

New conceptual movements of architects such as Greg Lynn, Frei Otto, Bates Smart, Nicholas Grimshaw, Santiago Calatrava, Ken Young, Michael Sorkin, Norman Foster and others have appeared in modern architecture.

A striking use of natural forms is the “nautilus clam” (Fig. 1), the name given to a unique house made in the shape of a shell (built according to a design by the architectural studio Arquitectura Organica in Mexico). Examples of architectural bionics include the architecture of Nicolas Grimshaw (Fig. 2.), Santiago Calatrava (Fig. 3,4), Norman Foster (Fig. 5.), etc.

The most difficult stage in the development of natural forms in architecture was the period from the mid-19th to the beginning of the 20th century. It was influenced by the rapid development of biology and great advances in construction technology compared to the previous period (for example, the invention of reinforced concrete and the beginning of the intensive use of glass and metal structures). When exploring this stage, it is necessary to pay special attention to the emergence of such a significant current in architecture as “organic architecture”. True, the name “organic architecture” does not imply a direct and significant connection between architecture and living nature. The direction of "organic architecture" is the direction of functionalism. One of its main ideologists, Frank Lloyd Wright, spoke about this on television in 1953. answering the questions asked to him: “... organic architecture is architecture “from the inside out”, in which the ideal is integrity. We do not use the word “organic” in the sense of “belonging to the plant or animal world.”

To summarize the historical background of architectural bionics, we can say that architectural bionics as a theory and practice developed in the process of evolution of a specific architecture and living nature, and that this phenomenon is not accidental, but historically natural.

A specific feature of the modern stage of mastering the forms of living nature in architecture is that now not just the formal aspects of living nature are being mastered, but deep connections are being established between the laws of development of living nature and architecture. At the present stage, architects do not use the external forms of living nature, but only those properties and characteristics of the form that are an expression of the functions of a particular organism, similar to the functional and utilitarian aspects of architecture.

From functions to form and to the laws of shape formation - this is the main path of architectural bionics.

The use of nature's structural systems paved the way for other areas of architectural bionics. First of all, this concerns natural means of “insulation”, which can be used to organize a favorable microclimate for humans in buildings, as well as in cities.

Architectural bionics is intended not only to solve functional issues of architecture, but to open up perspectives in the quest for the synthesis of function and aesthetic form of architecture, to teach architects to think in synthetic forms and systems.

In recent years, bionics has confirmed that most human inventions have already been “patented” by nature. Such 20th-century inventions as zippers and Velcro fasteners were made based on the structure of a bird's feather. Feather beards of various orders, equipped with hooks, provide reliable grip. Famous Spanish architects M.R. Cervera and H. Ploz, active adherents of bionics, began researching “dynamic structures” in 1985, and in 1991 they organized the “Society for Supporting Innovation in Architecture.” A group under their leadership, which included architects, engineers, designers, biologists and psychologists, developed the project “Vertical bionic tower city” (Fig. 6.). In 15 years, a tower city should appear in Shanghai (according to scientists, in 20 years the population of Shanghai could reach 30 million people). The tower city is designed for 100 thousand people, the project is based on the “principle of wood construction”.

The city tower will have the shape of a cypress tree with a height of 1228 m with a girth at the base of 133 by 100 m, and at the widest point 166 by 133 m. The tower will have 300 floors, and they will be located in 12 vertical blocks of 80 floors each (12 x 80 = 960; 960! =300). Between the blocks there are screed floors, which act as a supporting structure for each block level. Inside the blocks there are houses of different heights with vertical gardens. This elaborate design is similar to the structure of the branches and entire crown of the cypress tree. The tower will stand on a pile foundation according to the accordion principle, which is not buried, but develops in all directions as it gains height - similar to how the root system of a tree develops. Wind fluctuations on the upper floors are minimized: air easily passes through the tower structure. To cover the tower, a special plastic material will be used that imitates the porous surface of leather. If construction is successful, it is planned to build several more such building-cities. Completion of construction is planned for 2014.

Bionic forms are distinguished by their complexity of designs and non-linear shapes.

The emergence of the term.
The concept of “bionics” (from the Greek “bios” - life) appeared at the beginning of the twentieth century. In a global sense, it denotes a field of scientific knowledge based on the discovery and use of patterns of construction of natural forms to solve technical, technological and artistic problems based on the analysis of the structure, morphology and vital activity of biological organisms. The name was proposed by the American researcher J. Steele at a 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, constructors and engineers are faced with 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 a team of specialists from the TsNIELAB laboratory, which existed until the beginning of the 1990s, architectural bionics finally emerged as a new direction in architecture. At this time, the final monograph of a large international team of authors and employees of this laboratory, under the general editorship of Yu. S. Lebedev, “Architectural Bionics” (1990) was published.
Thus, the period from the middle of the twentieth century. to the beginning of the 21st century. in architecture was marked by an increase in interest in complex curvilinear forms, a revival, already at a new level, of the concept of “organic architecture,” which has its roots in the late 19th - early 20th centuries, in the work of L. Sullivan and F. L. Wright. They believed that the architectural form, as in living nature, 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 recent decades has long subjugated the human way of life. Step by step, humanity has emerged from its ecological niche on the planet. In fact, we have become inhabitants of an artificial “nature” created from glass, concrete and plastic, the compatibility of which with the life of the natural ecosystem is steadily approaching zero. And the more artificial nature takes over living nature, the more obvious the human need for natural harmony becomes. The most likely way to return humanity “to the bosom of nature” and restore balance between the two worlds is the development of modern bionics.

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

Sydney Opera House. Architect: Jørn Utzon.

Rolex Training Center. Architects: Japanese architectural bureau SANAA.

Architectural bionics is an innovative style that takes the best from nature: reliefs, contours, principles of shape formation 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.

Interior of the fruit museum.

At all times, there has been a continuity of natural forms in architecture created by man. But, in contrast to the formalist approach of past years, when the architect simply copied natural forms, modern bionics is based on the functional and fundamental features of living organisms - the ability for self-regulation, photosynthesis, the principle of harmonious coexistence, etc. Bionic architecture involves the creation of houses that are a natural extension 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 includes a complex of engineering equipment. Eco-friendly materials and building structures are used during construction. Ideally, the house of the future is an autonomous, self-sustaining system that fits seamlessly 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.

Shape formation passing from living nature into architecture.
Every living creature on the planet is a perfect working system adapted to its environment. The viability of such systems is the result of evolution over many millions of years. By revealing the secrets of the structure of living organisms, one can gain new opportunities in the architecture of buildings.
Shape 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 endless variety of extremely complex and amazingly beautiful, lightweight, 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, spider web threads, pumpkin antennae, 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 living nature, the implementation of adaptation and growth of flexible tectonic systems based on the adaptation and growth of living organisms.
In architectural and construction bionics, much attention is paid to new construction technologies. Thus, in the field of development of efficient and waste-free construction technologies, a promising direction is the creation of layered structures. The idea is borrowed from deep-sea mollusks. Their durable shells consist of alternating hard and soft plates. When a hard plate cracks, the deformation is absorbed by the soft layer and the crack does not go further.

Technologies of architectural bionics.
Let us give an example of several of the most common modern trends in the development of bionic buildings.
1. Energy Efficient House - a building with low energy consumption or zero energy consumption from standard sources (Energy Efficient Building).
2. Passive House (Passive Building) - a structure with passive thermoregulation (cooling and heating by using environmental energy). Such houses use energy-saving building materials and structures and practically do not have a 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, flying 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 rooms and enclosing structures is optimized.
5. Healthy Building - a building in which, along with the use of energy-saving technologies and alternative energy sources, priority is given to natural building materials (mixtures of earth and clay, wood, stone, sand, etc.) Technologies " healthy" homes include air purification systems from harmful fumes, gases, radioactive substances, etc.

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 forms of living nature 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.

Columns of the hypostyle hall of the Temple of Edfu.

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

Baths in Vals. 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 classified as bionic architecture. They are created from natural materials, and the structures of village settlements have always been harmoniously integrated into the surrounding landscape (the highest point of the village is the church, the lowland is residential buildings, etc.)

Dome of the 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 Italian Renaissance architect 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 living nature when depicting and designing construction and military buildings. and even aircraft. It is generally accepted that the first who began to study the mechanics of flight of living models “from a bionic position” was Leonardo da Vinci, who tried to develop an aircraft with a flapping wing (ornithopter).

Gallery in Park Güell. Architect: Antonio Gaudi.

Portal of the Passion of Christ of the Cathedral of the Holy Family (Sagrada Familia).

Advances in construction technology in the nineteenth and twentieth centuries. gave rise to new technical possibilities for interpreting the architecture of living nature. This is reflected in the works of many architects, among whom, of course, Antoni Gaudi stands out - the pioneer of the widespread use of bioforms in the architecture of the twentieth century. The residential buildings designed and built by A. Gaudi, the Güell Monastery, the famous “Sagrada Familia” (Cathedral of the Holy Family, height 170 m) 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.

Casa Mila attic floor. 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, staircase handrails imitate curling plant stems, and 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 fantasies of both architects and engineers. A. Gaudí was one of the first to use the bio-morphological design 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, Gaudi did not simply copy natural objects, but creatively interpreted natural forms, modifying proportions and large-scale rhythmic characteristics.
Despite the fact that the semantic range of protobionic buildings looks quite impressive and justified, some experts consider architectural bionics only those buildings that do not simply repeat natural forms or are created from natural materials, but contain in their designs the structures and principles of living nature.

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 by bridge engineer A. G. Eiffel, which exactly replicates the structure of the human tibia, and the bridge project by architect P. Soleri, reminiscent of a rolled-up leaf of cereal and developed on the principle of load redistribution in plant stems, etc.

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

In Russia, the laws of living nature were also borrowed to create some architectural objects of the “pre-perestroika” period. Examples include the Ostankino radio and television tower in Moscow, Olympic facilities - a cycling track in Krylatskoye, membrane coverings of an indoor stadium on Mira Avenue and a universal sports and entertainment hall in Leningrad, a restaurant in the Primorsky Park of Baku and its connection in the city of Frunze - the Bermet restaurant and etc.
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) stand out %20works/Architecture?mode=english), Nicholas Grimshaw (http://grimshaw-architects.com/sectors/), Ken Young (http://www.trhamzahyeang.com/project/main.html), Vincent Calebo ( 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 about it in more detail!
Architectural bureau "Inttera".

Bionics concept

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

In English-language and translated literature, the term biomimetics (from the Latin bios - life, and mimesis - imitation) is more often used to mean an approach to the creation of technological devices, in which the idea and basic elements of the device are borrowed from living nature. One of the successful examples of biomimetics is the widespread “Velcro”, the prototype of which was the fruits of the burdock plant, which clung to the fur of the dog of the Swiss engineer Georges de Mestral.

There are:

biological bionics, which studies the processes occurring in biological systems;

theoretical bionics, which builds mathematical models of these processes;

technical bionics, which applies models of theoretical bionics to solve engineering problems.

For thousands of years, people have lived among living nature, millions of shades of colors, an innumerable variety of forms, but recently people, almost forcibly immersed in a harsh urban environment, have learned to admire the aesthetics of metal and asphalt, the synthetic aromas of the city, and the bluish smog that sets off the bright rays of the sunset sun. These and other phenomena became a source of inspiration for photographers, artists and fashion designers, as well as designers, thanks to whom high-tech remained at the peak of interior fashion for several years. However, we suffer, sometimes unknowingly, from a lack of pure, rich colors and bizarre forms of living plants. Interior elements in the bionic style help to partially compensate, at least at home, for the lack of natural beauty.

The idea of applying knowledge about wildlife to solve engineering problems came from Leonardo da Vinci, who tried to build an aircraft with flapping wings like birds: an ornithopter.

The emergence of cybernetics, which considers the general principles of control and communication in living organisms and machines, has become an incentive for a broader study of the structure and functions of living systems in order to clarify their commonality with technical systems, as well as use the information obtained about living organisms to create new devices, mechanisms, materials, etc.

In 1960, the first symposium on bionics was held in Daytona (USA), which formalized the birth of a new science.

Bionics is closely related to biology, physics, chemistry, cybernetics and engineering sciences: electronics, navigation, communications, maritime science and others.

Bionics is a science that studies the principles of organization and functioning of biological systems at the molecular, cellular and population levels.

Bionics is an interdisciplinary science, a “crossroads science”, it reflects the features of the scientific and technological revolution in the form of integration of sciences that are different in their purpose and methods.

Bionics synthesizes knowledge in biology and cybernetics, physics and radio engineering, mathematics and electronics, botany and architecture, biochemistry and mechanics, psychology and biophysics, etc.

Bionics connects heterogeneous knowledge in accordance with the laws of the unity of living nature.

The bionic approach, which forms the basis for the creation of the Orange concept project, echoes the ideas put forward at one time by the founders of the Russian Avangard. In the 20th century, “bionic ideas” were developed in the avant-garde projects of many figures in various types of art. In 1916, the classic “Russian Avant-garde” Kazimir Malevich noted: “Objects have disappeared like smoke; in the name of a new artistic culture, art strives for the autonomy of creation - for the priority of the forms of nature.” And in the 1920s, Lazar Khidekel, a student of Chagall and Malevich, the author of the first architectural and environmental manifesto “AERO” in Russian history, wrote: “A new, higher civilization is emerging, where future architecture should be based on its own laws that do not destroy the natural environment , but entering into beneficial spatial interaction with the surrounding nature."

For example, the flexibility inherent in the human body began to be used not only by artists and architects, but also by avant-garde artists of stage art, using actors to build living scenery for their performances. The appeal to natural sources found vivid expression in the acting school of the famous director Vsevolod Meyerhold. His actors underwent special training in an experimental workshop, where the main subject was biomechanics. Meyerhold sought to give the spectacle geometric precision of form, acrobatic lightness and dexterity, and athletic bearing. He continued to develop these same biomechanical principles of art in his magazine “Love for Three Oranges”, where in a number of articles much attention was paid to the idea of \u200b\u200braising an actor who confidently controls his body, voice, and is capable of performing any task of the director at the right pace and rhythm.

At the same time, bionic ideas are beginning to be implemented in ballet performances. Impressionistically blurred dances, expressing the feelings of a flower and based on imitation of the plasticity of a flowering climbing plant, became a real sensation in the West thanks to the name of Serge Diaghilev, the organizer of the annual tours of Russian artists in Paris, called “Russian Seasons”. The ballets "Narcissus" and "The Phantom of the Rose" of the third "Russian Seasons" stunned the imagination of the audience with the naturalness of their gestures and extraordinary plasticity. The bionic ideas embodied in these productions allowed Diaghilev to establish the viability of his brainchild and gained great popularity in the West. The clarity of concept and implementation, catchiness and extreme laconicism of images, characteristic of bionic concepts, became an important component of the work of the pioneer of the Soviet photo avant-garde, Alexander Rodchenko, who also created sketches for many theatrical productions of the Meyerhold Theater. But, of course, bionic ideas still found their most vivid embodiment in architecture. The great contemporary of the founders of the “Russian Avant-garde,” the philosopher Rudolf Steiner, said: “The spiritual aspect of creating bionic forms is associated with an attempt to understand the purpose of man. In accordance with this, architecture is interpreted as a “place” where the meaning of human existence is revealed.” And if you follow the logic of the classics, it turns out that only a building created in accordance with the principles of architectural bionics - be it Foster's "Orange" or any other modern eco-complex - can become the most organic "home" for works of art that fill the human being with a special artistic meaning.

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Essay

Subject: "Bionics in architecture»

Completed by: Ksenia Lavrentieva

Samara - 2015

Introduction

1. The concept of bionics

2. The birth of bionics

3. Architectural and construction bionics

4. Cone-shaped designs

5. Prestressed structures

6. Shells

7. Spiral-shaped structures

8. Mesh, lattice and ribbed structures

9. Design examples

Conclusion

List of used literature

Applications

Introduction

By the beginning of the 20th century, architecture had undergone significant changes. The consequences of the scientific and technological revolution were felt - the emergence of reinforced concrete and the experience of directly using metal as a building material. Changes in the social order also had an impact - the growth of cities, industrial enterprises, and the demographic problem. The need to build quickly, firmly, in large quantities, and cheaply put pressure on architecture and determined its character and development trends in the 20th-21st centuries.

This determined the birth of integration disciplines and movements in science, technology and art, one example of which is architectural bionics.

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

The use of the laws and forms of living nature in technology and architecture is quite legitimate. Everything in the world is interdependent. There are no things and phenomena that are not directly or indirectly connected with each other, there are no impenetrable barriers between living nature and artificial forms and structures. There are laws that unite the whole world into a single whole and give rise to the objective possibility of using the laws and principles of constructing living nature and its forms in artificially created systems. The basis for this is the biological relationship between humans and living nature.

Relevance of the topic is due to the progressive development of the use of bionic forms in the objective environment surrounding humans, starting from the ancient world. More and more bioforms are influencing everything that is created by man, in particular architecture. With the development of technology and the emergence of ever new materials, the possibilities for using bionic forms in architecture are becoming almost limitless. The importance of studying the discipline of bionics is undeniable, as an integral part of architecture.

The purpose of the work is to consider the possibility of using bionic forms in architecture.

Job Objectives consist in studying the very concept of bionics, bionic architecture, in studying the main directions of bionic architecture and examples of the use of bionic forms in architecture.

1 . Bionics concept

Bionics-- a science that studies living nature with the aim of using the acquired knowledge in practical human activities.

Bionics (English bionics, from bion - living being, organism; Greek Bioo - living).

The term bionics first appeared in 1960, when specialists from various fields who gathered at a symposium in Daytona (USA) put forward the slogan: “Living prototypes are the key to new technology.” Bionics was a kind of bridge that connected biology with mathematics, physics, chemistry and technology.

One of the most important goals of bionics is to establish analogies between the physicochemical and information processes found in technology and the corresponding processes in living nature.

A bionics specialist is attracted by the variety of “technical ideas” developed by living nature over many millions of years of evolution.

A special place among the tasks of bionics is occupied by the development and construction of control and communication systems based on the use of knowledge from biology. This is bionics in the narrow sense of the word.

Bionics is important for cybernetics, radio electronics, aeronautics, biology, medicine, chemistry, materials science, construction, architecture, etc.

The tasks of bionics also include the development of biological methods of mining, technologies for the production of complex substances of organic chemistry, building materials and coatings that are used by living nature.

Bionics teaches the art of rational copying of living nature, finding technical conditions for the appropriate use of biological objects, processes and phenomena.

One of the possible ways here is functional (mathematical or software) modeling, which consists in studying the structural diagram of the process, the functions of the object, the numerical characteristics of these functions, their purpose and changes over time.

This approach makes it possible to study the process of interest using mathematical means, and to carry out the technical implementation of the model when its effectiveness has been established in principle and it remains to check the economic, energy and other possibilities of constructing this kind of model using the available technical means.

There is another way - physical and chemical modeling, when a specialist in the field of bionics studies biochemical and biophysical processes in order to study the principles of transformation (including decomposition and synthesis) of substances occurring in a living organism. This path is most closely related to chemical-technological issues and opens up new opportunities in the development of energy and polymer chemistry.

The third approach developed by bionics is the direct use of living systems and biological mechanisms in technical systems. This approach is usually called the inverse modeling method, since in this case a bionic specialist seeks the possibilities and conditions for adapting living systems to solve purely engineering problems, in other words, he tries to simulate a technical device or process on a biological object.

Bionics, which arose in response to requests from practice, served as the beginning of research based on the application of biological knowledge in all areas of technology.

bionics architecture cone-shaped design

2 . The Birth of Bionics

Having reached a certain ceiling in the development of artificial mechanisms, people, for further forward movement, strive to borrow the principles and methods with the help of which living organisms are created and function.

The unofficial title of “father of bionics” belongs to Leonardo da Vinci. This great genius in the history of civilization was the first to try to use the experience of nature in the construction of man-made machines. From his drawings and notes it is clear that when developing his own aircraft, the main role was given to him reproducing the same mechanism with which birds flap their wings and create lift (Fig. 1). These ideas of da Vinci were unclaimed until the last century, when, under the influence of the development of cybernetics, scientists paid close attention to the activities of the so-called “living systems” (that is, natural objects).

Bionics finally took shape as a science in 1960 at a symposium of scientists in Daytona.

The pioneer of the use of bionic principles in the construction of buildings was the great Catalan architect of the late 19th century? beginning of the 20th century by Antonio Gaudi. It was Gaudi who was the first to not only introduce decorative elements of nature into architectural structures, but also gave the buildings the character of the environment.

Professional architects, landscape designers and simply connoisseurs of beauty still never cease to admire Gaudi’s ingenious architectural solutions during the construction of Park Güell (Fig. 2): just look at the unique colonnade, made in the style of antique porticos, which looks like fused tree trunks.

Bionic principles of architecture were adopted and developed by Rudolf Steiner in the early 1920s. In 1921, Rudolf Steiner created his “Goetheanum” (Fig. 3), after which the widespread use of bionics in the design of buildings and structures began.

Thanks to the development of scientific methods, the expansion of the knowledge base and the emergence of the possibility of detailed mathematical modeling, the architects of the past came to the conclusion that most of the architectural principles and laws that humanity had been struggling with through trial and error for thousands of years were under our very noses, in nature.

That's why the main task of bionics in architecture is the search in natural biological systems for optimal solutions to emerging architectural problems. The laws of formation and structure formation of living tissues, structural systems of living organisms are being studied on the principle of saving material, energy and ensuring reliability.

3 . Architecturally - construction bionics

Architectural bionics in the recent past is the understanding of natural forms in building structures, new possibilities for architectural shape-formation.

Architectural bionics today (neobionics) is an attempt to link environmental aspects and high technology with architecture.

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

In the distant past, man created many remarkable structures by copying the architectural forms of the plant world. Take a closer look at the light African buildings, and you will see in them the outlines of beehives (Fig. 4), ancient Eastern pagodas resemble slender fir trees with heavily hanging branches (Fig. 5), the marble column of the Parthenon is the personification of a slender tree trunk (Fig. 6), column Egyptian temple is like a lotus stem (Fig. 7), Gothic architecture is the embodiment in a dispassionate stone of constructive logic, harmony and expediency of living things.

Remember the famous Kizhi (Fig. 8). Their domes resemble onions. The church in Fili (Fig. 9), like a living organism, decreases with height and develops from the center to the periphery. All of her seems to tremble, everything in her is subtle and harmonious. St. Basil's Cathedral is the same main trunk, from which branching and crushing of forms goes upward and to the side (Fig. 10).

Amazing similarity of techniques! It’s as if the architects agreed on the commonality of their creative principles. Looking through the pages of the history of construction, one can find many more examples of man copying the architectonics of living nature. However, it must be emphasized once again that the ancient art of construction was similar to the organization of living nature only in form. From nature, architects learned the harmony of proportions, the logical distribution of building volumes, the subordination of the secondary to the main, the correct combination of sizes of parts, constructive truth, but they did not know the main thing - the laws of shape-formation, the secrets of the self-construction of living things.

The internal organization of living things, the constructive side of a leaf, a cereal stem and a tree trunk became the object of study by scientists of later times. These studies laid the foundation for architectural bionics.

A striking example of fur coat architectural bionics is a complete analogy of the structure of cereal stems and modern high-rise buildings. The stems of cereal plants are able to withstand heavy loads without breaking under the weight of the inflorescence. If the wind bends them to the ground, they quickly restore their vertical position. Their structure is similar to the design of modern high-rise factory pipes.

Both structures are hollow inside. The sclerenchyma strands of the plant stem act as longitudinal reinforcement. The internodes (nodes) of the stems are rings of rigidity. There are oval vertical voids along the walls of the stem. The pipe walls have the same design solution. The role of a spiral reinforcement placed on the outside of the pipe, in the stem of cereal plants, is played by a thin skin. However, the engineers came to their constructive solution on their own, without “looking” into nature. The identity of the structure was revealed later.

Bionics confirms that many human inventions have analogues in living nature, for example, zippers and Velcro were invented based on the structure of a bird's feather. Feather beards of various orders, equipped with hooks, provide reliable grip.

We found out that there are several directions in architectural bionics: Cone-shaped structures, Pre-stressed structures, Shells, Spiral-shaped structures, Mesh, lattice and ribbed structures. Now we will look at them.

4 . Cone-shaped structures

In living nature, function and form are closely related and mutually dependent. The formation of mechanical tissues of living organisms is associated with the intensity of growth and the influence of many external factors. Therefore, the structural form, for example, of plant trunks and stems, is characterized by the distribution of building material along the lines of maximum stress. The supporting elements of the body contain a significant part of its mass.

One of the supporting forms in nature is a cone. It is present in the constructive structure of tree crowns and trunks, stems and inflorescences, mushrooms, shells, etc. Among the cone-shaped forms of nature, there are two principles.

The first is the beginning of sustainability. It is expressed in the form of a static cone, or cone of gravity (cone with the base down). This is the optimal shape for absorbing wind loads and gravity. It is easy to notice in the crown or trunk of a spruce (Fig. 11a), in the cap or stem of a porcini mushroom, a common morel, and an umbrella mushroom.

The second beginning is the beginning of development, which is expressed in the form of a dynamic cone, or growth cone (cone with the base up). Examples of a growth cone are the goblet mushroom (Fig. 11b), the chanterelle mushroom, and the thalli of some types of Cladonia lichen.

But more often in nature the interaction of two cones appears. Based on combinations of two cones that are identical or different in origin, various shape formations arise. An example is the crowns of many trees, which begin to develop at the bottom according to the principle of a growth cone, and end according to the principle of a gravitational cone - with the top up. Architects often use the cone principle in their work. Thus, in the design of the Ostankino TV tower (Fig. 12) the cone of gravity is clearly visible. The growth cone principle underlies the construction of a water tower in Algeria. A striking example of the interaction of two cones is the design of a water tower by the famous Russian architect V. Shukhov (1896) (Fig. 13)

5 . Prestressed structures

Among the herbaceous plants of our central zone, the common mantle plant is widespread (Fig. 14). It is easy to notice by the folded shape of the leaves and the sparkling droplet of moisture that often accumulates at the base of the leaf. It is thanks to the folded shape of the leaves that the plant got its name - its leaves, folded in even folds, resemble ancient lace cuffs.

The ribbed shape of the leaf gives it, in comparison with the same leaves that have a smooth surface, additional rigidity, strength and stability in space.

Thanks to its ribbed shape, the cuff sheet holds a heavy drop of water and does not crush under a weight many times greater than its weight. This is one of the most interesting patterns of nature - the resistance of structures in shape

It manifests itself not only in folded leaves, but also when the leaves or petals of plants are rolled into a tube, twisted into a spiral, forming fancy grooves, that is, they take on a different spatial shape without the cost of additional building material. This change in shape in space provides the plant, its leaves and flowers with the greatest strength and allows, for example, the curled long leaves of the cattail to remain in an upright position, and the delicate, long petals of the lady's slipper to withstand the wind.

The principle of structural resistance to form, which exists in nature, has found wide application in modern construction. The folded structure is one of the simplest among the variety of spatial structures. Formed from flat surfaces, they are easy to manufacture and install. They can cover very large structures, for example, the waiting room at the Kursk station (Fig. 15) or the athletics hall (Fig. 16).

6 . Shells

In the workshop of nature, one often encounters structures in the form of vaults of various spatial forms (nut and egg shells, shells and shells of animals, smooth leaves, plant petals, etc.). Spatially curved and thin-walled, they, due to the continuity and smoothness of their shape, have the property of uniform distribution of forces over the entire section. The geometry of the shape helps these vaulted structures become stronger. It is precisely because the petal of a flower is curved that it withstands the impacts of raindrops and insects landing on it, and the thin arched shells of sea urchins, crabs and mollusk shells withstand the pressure of water in the depths of the sea.

Nature invented the ideal strength shape for thin eggshells. It also transfers the load from one point to its entire surface. But the uniqueness of this design lies not only in its special geometric shape. Despite the fact that the thickness of the shell is approximately 0.3 mm, it consists of 7 layers, each with its own specific function. The layers do not delaminate even with the most drastic changes in temperature and humidity, representing a striking example of the compatibility of materials with various physical and mechanical properties. The increased strength of the eggshell is also given by a thin elastic film, which turns the shell into a pre-stressed structure.

With the development of cities and population growth, builders were faced with the task of designing large buildings without heavy, labor-intensive coverings and intermediate supports. Therefore, lightweight and durable, thin-walled and economical natural vaulted structures interested architects. The design principle of these shells formed the basis for the creation of lightweight, long-span steel and reinforced concrete coatings of various curvatures, which are widely used in the construction of sports complexes, cinemas, exhibition pavilions, etc. The main quality of such coatings is lightness, and the larger the span, the lighter dome. In modern buildings, the thickness of the dome is measured in millimeters, and such domes are called shell shells.

Examples of such structures are the roof of the exhibition pavilion in Paris, which resembles a flower petal; it covers a span of more than 200 m without supports, the roof of the exhibition pavilion in Yerevan, the circus dome in Kazan (Fig. 17), the roof of a shopping center in Chelyabinsk (Fig. 18), having the form of a shell of double curvature, covering an area of more than a hectare without a single intermediate support.

7 . Spiral-shaped structures

A spiral is one of the forms of manifestation of movement, growth and development of life. According to the law of the spiral, the Galaxy and living organisms, for example, plants, develop. The first person to discover that a growing plant follows a spiral pattern was Charles Darwin. Describing a spiral, the stems of plants stretch out, moving in a spiral, the petals of some flowers open, for example, phlox, and the shoots of ferns unfold.

At the same time, the spiral is also a restraining principle in nature, aimed at saving energy and material.

Only by changing the shape of the structure, giving it the appearance of a spiral, does nature thus achieve additional rigidity and stability in space in the structure.

For example, thin and long stems of cucumbers or pumpkins, long cattail leaves and thin mushroom stems are curled into a spiral, thereby acquiring additional rigidity. The shells of the simplest single-celled organisms, formanifera and mollusk shells, twisted in one or different planes (turbospirals) are also a manifestation of a method for achieving the greatest strength while using economical material. Thanks to their curled shape, such thin-walled structures can withstand high hydraulic pressure when immersed to depth.

The twisted form of natural structures, as a way to achieve greater stability in space while economically using “building” material, suggested to the architects a new form of the spiral base of the building - turbosomes. The turbosoma is aerodynamic, any winds only flow around its body, without swaying or causing it any harm. It can be used in the construction of high-rise buildings.

Spiral Towers "Mode Gakuen" (Fig. 19) is a 170 meter, 36-story educational institution located on the main street of Nagoya, in front of Nagoya Station, in Aichi Prefecture, Japan. The shape of the buildings is similar to a wing - with a wide part at the top. The building gradually changes its axis of rotation with height, causing the building's shape to form a curve. The shape of the spiral towers changes slightly when viewed from different viewing angles, making them appear elegant yet dynamic. A strong internal vertical support tube is visible through the openings between the three fenders, highlighting the bold design without being distracting from the overall look.

8 . Mesh, lattice and ribbed structures And

Flat and spatially curved ribbed, mesh and cross (lattice) structures are widespread in nature, in which the main material is concentrated along the main stress lines.

A thin leaf of a plant or a transparent wing of an insect has sufficient mechanical strength due to the branching network of veins in it.

This frame performs the main (load-bearing) role, while other structural elements, for example, the sheet film or the wing membrane, can reach a minimum cross-section. This is also one example of achieving strength with minimal material consumption. The thin wings of a rocker dragonfly make up to 100 beats per second, a bumblebee - more than 200, a housefly - up to 300, and a mosquito - up to 1000 beats.

The architects were also interested in the design principle of plant leaves. The leaf of the plant has sufficient mechanical strength, which largely depends on the veins that penetrate its plane from the base to the top.

The leaf of the tropical plant Victoria regia (Fig. 28), found in the waters of the Amazon and Orinoco, especially attracted attention. The floating leaves of this large water lily grow up to 2 meters in diameter and can withstand a weight of up to 50 kg without immersing in water. On the underside, this sheet is reinforced with thick and strong veins, similar to ropes. The longitudinally curved veins are connected to each other by crescent-shaped transverse diaphragms. This design creates a solid base for placing a thin translucent film of the leaf between the veins. Taking the veining of the Victoria regia leaf as a basis, the Italian architect P. Nervi designed the flat ribbed covering of the Gatti factory in Rome and the covering of the large hall of the Turin Exhibition, achieving great constructive and aesthetic effect.

The principle of constructing the Victoria Regia sheet was used by our architects when constructing the ceiling of the foyer of the Tula Drama Theater (Fig. 20). They stretched reinforced concrete ribs along the ceiling, which carry a huge span.

The principle of constructing natural spatial lattice systems is also used in architectural practice: radiolaria, diatoms, some fungi, shells, even the microstructure of the head of the hip bone. In these models, the principle of material distribution with the expectation of the most random and multidirectional load actions is especially clearly demonstrated. For example, the structure of the head of the hip bone is built in such a way that it never works against fracture, but only under compression and tension. A similar system can be used in the design of support frames, trusses, and cranes.

9 . Design examples

In Figure 21.c. depicts a spherical starfish. Its supporting skeleton (Fig. 21.b) consists of calcareous plates connected to each other by muscles. Small plates form the skin. The spherical arrangement of the skeletal plates suggested to builders the design of a residential building and other building structures. By analogy with a spherical starfish, a radar shelter was built in England (Fig. 21.a). Its diameter is 33.5 m, the shell is ribbed. The ribs are made of aluminum alloy. The shell material is polyester fiberglass. The structure consists of 775 triangular elements.

Radiolarians (protozoa) live in warm seas. They spend their entire lives in motion, forming plankton - food for large marine animals. Figure 22 shows a radiolaria (an organism of the order Nasselaria) in the shape of a lattice bell with constrictions and numerous spines, and Figure 23 - in the form of radially located and equally developed spines (an organism of the order Acantharia). In the center of radiolarians there is a capsule - a skeletal formation to protect the nucleus. The walls of the capsule are porous: for communication with the environment. The great designer nature gave them an elegant look.

Their shape interested architects. Based on the type, for example, of a radiolarian lattice (Fig. 24) (an organism of the order Acantharia), a design of a building structure covering a large area is being carried out. In Moscow and in other cities of our country you can now find houses whose building elements are borrowed from radiolarians

Borrowing from nature the principle of a cone and other secrets, the builders built the Ostankino television tower (Fig. 12), thickened at the base and pointed. Outwardly, it resembles a stem or needle. Its total height is 540 meters 74 centimeters. Its weight is 55 thousand tons. There are seven elevators installed inside, four of which are high-speed. In 58 seconds you can climb to the observation deck, to a height of 337 m. In strong winds, the tower can swing up to 10 m, while maintaining its strength. There are 150 steel ropes stretched inside the tower, just like a wheat or bamboo stalk has longitudinal fibers inside. They are hidden under a concrete “shirt”. That's why the tower is strong and flexible. It can withstand force 15 winds and force 8 earthquakes. Its reliability is designed for 300 years.

Plants not only withstand mechanical stress, but also react during the day to changes in light, temperature, and humidity. These plant abilities were used by the Soviet architect Yu.S. Lebedev. At an exhibition held in Moscow in 1982, a model of a residential building he created was demonstrated (Fig. 25), which, like a sunflower flower, turned during the day following the sun.

24 unusual houses were built in Holland (Fig. 26). Outwardly they resemble trees. The first floor is built in the form of a trunk, and on it are giant cubes that house living quarters.

Studying the layered structure of a chicken egg shell helps engineers create new building layered materials with excellent mechanical properties, lightweight, breathable and prevent moisture penetration. The picture shows a residential building in the shape of an egg (Basel, Switzerland) (Fig. 27). The largest diameter of the house is 7.2 m. Its shell is three-layer, closed, elliptical, made of polyester fiberglass. A house without corners, with two windows, on three supports. A small amount of material is used to build such a house.

Conclusion

Architectural bionics is a new page in the development of construction technology and architecture, it is a conscious need, caused by the requirements of our time, to study the engineering solutions of nature, to learn the laws, the secrets of its construction skills, it is a targeted search for original architectural forms, ideally calculated by nature itself.

There is nothing accidental in the fact that architects and builders, like radio engineers, electronics engineers, shipbuilders, aircraft designers, mechanical engineers and specialists in many other branches of technology, turned to nature and its art of construction. After all, nature’s architectural and construction workshop has been working tirelessly for at least 2,700 million years, while human construction practice dates back only a few thousand years of the existence of material culture.

In living nature everything is extremely harmonious. In architecture, the harmony of content and form is borrowed, and aesthetics are enriched. Nature gives rise to a person’s feeling of life affirmation, the desire for light and warmth. Architects strive to reflect all this in stone, metal, brick, and concrete.

List of used literature

1. Architectural bionics. Edited by Yu.S. Lebedeva - M. Stroyizdat, 1990. -269 p.

2. Issues of bionics. Rep. ed. M.G. Gaase-Rapoport, M., 1967.

3. Bondar, E.V. Social ecology: Textbook / V. Bondar. Stavropol: SSU Publishing House, 2005.- 149 p.

4. “Workshop of Nature” Artist A. Sementsov-Ogievsky - M.: Fine Arts, 1981.

5. Internet resources: www.wikipedia.org http://www.wikipedia.org

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Bionic architecture of modern Russia. Boris Levinzon

One of the leading architects of modern Russia is St. Petersburg architect Boris Levinzon, chief architect of Bionika Stroy LLC. He decided in his creations to combine human habitation, created according to the “last word of progress,” and the harmony of nature. His houses are not what we imagine when we hear the word “home.” These are real works of high art. Their form is subject to the laws of nature, living and inanimate.

In Sestroretsk near St. Petersburg in 1999, a private house “House with Eyes” appeared, built according to the design of the architect Boris Levinzon. The forms of the building are a clear interpretation of natural forms. The house merges with the landscape, smoothly flowing into it, continuing it. It, like everything in nature, develops: it grows into the ground with a swimming pool and a garage; spreads along the ground in gardens with gazebos, benches and fences; conquers the air with balconies and terraces. Indeed, windows are like watchful eyes examining the sky, earth, trees, which are their continuation.

Later, in 2003, an exhibition copy of the country house “Dolphin House” was built on the territory of LENEXPO (design and construction - Bionikastroy LLC, project author - Boris Levinzon, detailed design - architect Andrey Bosov, designers - Nina Lisetskaya, Dmitry Kresov). "Dolphin" can be seen from afar. Steep-sided, with glass fins and a blue back-roof, it reigns over the exhibition cottage town.

The spacious room on the first floor of the “Dolphin” is saturated with light pouring from huge windows that span the entire wall. Not far from the entrance, along a blank side wall, there is a kitchen. And the corner opposite was occupied by a dining room with cozy sofas and a table. The kitchen and dining areas, half-screened from the shining windows by the smooth protrusions of the walls, acquire some isolation and look very cozy. The large window space, flooded with light, is ideal for a winter garden and for admiring the surrounding landscape. By the way, the author of the project claims that everything is conditional, and the parameters of the internal structure of the house can be changed in accordance with the wishes of the customer. The windows can be tinted if the lighting seems too bright, or the blinds can be closed. Or even in Japanese style - make sliding windows and doors.

In the center of the hall, like an elegant statuette, is a spiral staircase leading to the second floor.

Boris Levinzon considers his structure to be a kind of formula with many variables that can be modified. Thus, four small rooms on the upper floor could be turned into two more spacious ones. Today, the second floor includes two bedrooms, a small living room and a small dining room. The rooms are separated by semi-openwork walls at the top, the “pattern” of which can be covered with frosted or colored glass. Two blind spherical rooms on the sides (“dolphin cheeks”) are intended for a sauna and a bath. The space on the second floor is surrounded by a semicircle of an internal balcony. Smoothly flowing lines of rooms flowing into one another do not “scratch” the eye with sharp corners.

The feeling of fresh air and open space, inner freedom seems to radiate from the very walls of this amazing house. By the way, about the walls. The unusual shape of the building required a special construction technology. "Dolphin" is a real house-sculpture. The metal “skeleton” is dressed in concrete, which is poured into a wooden mold. And the finished “body” was brought to perfection by finishing. Taking into account the complex smooth lines of the structure, the plaster, in addition to being environmentally friendly, wear-resistant and decorative, had to have high ductility, especially when it came to difficult areas where a four-centimeter layer was applied without reinforcement.

Each building of the bionic style is not only unique - bionics presupposes a union of man, nature and the latest technology. A house that fits organically into the landscape, equipped with an autonomous self-sufficiency system and, by its very appearance, relieves stress from the frantic stream of hectic everyday life

These country houses evoke extremely opposing points of view - from admiration to complete rejection. This attitude is understandable. There was no organic architecture in the architecture of the Soviet Union, and bionics developed mainly at the design and theoretical level. And at the same time, Boris Levinzon’s houses are not a complete innovation. They have their own background and their origins in the international practice of organic architecture. Understanding these origins will certainly contribute to a correct and objective assessment of the Russian branch of this trend.

Bionic lattice. Bionics in architecture: application, forms. The Bahai Temple in the capital of India - New Delhi, was built according to the design of the architect Fariborz Sabha and is a complex structure of marble fragments - stylized lotus petals

Bionics concept

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Bionic architecture of modern Russia. Boris Levinzon