About the nature of architecture. The connection between architecture and nature What is the role of nature in creating an architectural image

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

The scope of research on architectural and construction bionics includes the following issues: master plans of settlement sites, the form 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, meshes), the structure of integumentary tissues in nature, passive and active natural materials, 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 decomposition after the end of life, etc. The use of these principles in architecture will make it possible in the future to achieve a state of ecological balance through 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 an extraordinary elaboration of structures and functional dependency. This includes good perception of distributed loads, bridging (braking) of cracks in order to prevent the destruction of material valuable to a living organism, and minimizing the consumption of materials. Shells as coverings for buildings and structures are nature-like, they are architecturally expressive, durable, 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 subject and the background, the better the quality of visibility, while the threshold of visual perception is the smallest contrast value between the subject and the background, from which the subject becomes visible.

Architectural diversity (similar to biodiversity)

Much of 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 those corresponding to needs, must still bring joy of life and spiritual vigor, we need variety, but not evenness without boundaries - temperature, illumination, the same view in front of the window, the same forms or sequences of movements in space. Once there is variety, we begin to notice how one sensation relates to others. We begin to become aware of their contact zones. Most often, such contact is noticeable in the visible world. It is obvious that there is a need for a desire for diversity, similar to biodiversity in nature: a variety of sizes, shapes, details, colors (taking into account nature-likeness). It is desirable that the size of buildings correspond to the size of landscape components (primarily trees) and the human body.

Living nature does not obey the laws of symmetry. It can be assumed that buildings and structures also should not be completely symmetrical. Individual characteristics of people play a large role in the positivity or, on the contrary, negativity of the visual perception of buildings and structures. It is known that some architects and ordinary people like skyscrapers, huge squares, wide avenues with flows of cars; This is apparently one of the manifestations of diversity. Therefore, in architecture, as in nature, a variety of solutions, “charming variety,” should be presented. Then the visual environment will be pleasing to the eye.

Eco-friendly design should be aimed at creating a comfortable, healthy, beautiful environment for people. When solving these problems, it may be useful to use the biodiversity existing in nature (usually the number of species), the richness of which successfully supports the sustainability of nature and the environment. Architectural diversity should concern all architectural objects - from the city, neighborhoods, individual buildings and ending with their decoration.

Sustainable architecture must support a diversity of impacts. For example, in nature, human skin is almost constantly exposed to wind of variable intensity; air humidity in nature varies; a 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; for hundreds of thousands of years, man was surrounded by non-flat surfaces of shelters and primitive houses, and now - by planes; a person touched environmentally friendly surfaces - grass, soil, warm tree bark, and now most often concrete, steel, glass, plastic; During the day, a person was affected by the changing temperature of the surrounding air, and now it is almost constant, etc. All of these factors can be taken into account when architecturally designing a building's varied environments. When designing for diversity in a sustainable manner, the following points can be considered.

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

2. In order to create a more attractive image, it is necessary to strive for a variety of shapes, number of floors 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 shapes and sizes (including the correspondence of the sizes of buildings to the values ​​of the components of the surrounding landscapes - trees, hills; compliance dimensions of the premises to the size of the human body).

The shapes of buildings and engineering structures should be varied. The main direction is the use of various curved volumes along with parallelepipeds. It is necessary to provide for the widespread use of all forms of shells - from cylindrical and prismatic to hypars 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 sizes of buildings and their number of storeys should be varied, similar to the variety of sizes of components of the natural landscape - bushes and trees, hills and mountains.

The types of exterior finishes and colors of buildings should be varied, similar to the variety of exterior coverings in nature. Taking into account the perception of color by human eyes, the colors of the building façade and all other artificial surfaces should be selected. It is necessary to take into account color tone, saturation, and brightness. 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, indigo, pink, etc. It is also necessary to take into account the nature of the effect of color - active stimulating colors (red, orange, yellow), calming colors (blue, cyan, violet) and neutral (green - the color of balance). To improve emotional perception, it is recommended to use well-perceived combinations of colors and consistent contrast - moving the gaze from one object to another. It is necessary to take into account the harmony of contrast of color combinations in color tone, saturation, brightness and the harmony of similarity with a smooth change in color characteristics.

With diversity in mind, there is a need to embrace growing and adaptive homes. 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. The shapes of facades can be planar and curved in various combinations. The decoration of the facade should be varied in color, artistic design, and not contain the same repeating details. A variety of shapes of window openings is recommended - not only rectangular openings, but also oval, round, polygonal, and irregularly shaped.

4. Variety of layouts, room areas, types of floor coverings, wall finishes, and ceilings. The internal layout should change during the life of the building in accordance with changing needs and capabilities, 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 that a person changes can be considered as one of the ways of self-expression (individualization) of the individual. Therefore, interior layouts must be multiple and individual. There should be no concept of a space area specified for the entire service life. There should be flexible living space that adapts in a variety of ways to the needs of residents.

The decoration of walls and ceilings should be varied in color, artistic design, and not contain the same repeating details. Floor coverings can vary in smoothness: in certain places where residents walk barefoot (bathrooms), the coating can imitate the uneven surface of the soil and plant layer in order to actively influence the nerve endings in the soles. Wood floors can also have varying degrees of roughness.

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

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

7. Buildings should be changeable, environmentally adaptable. An interesting direction here 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 the 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. The use of high quality resources such as potable water should be minimized over the life of the building.

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

Organics (Bionics)(from the Greek biōn - element of life, literally - living) is a science bordering biology and technology, solving engineering problems based on analysis of the structure and vital activity of organisms. Simply put, if you remember Leonardo da Vinci, who tried to build a flying machine with flapping wings like birds, then you will immediately imagine what the 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, and the whole world, spoiled by architectural delights, has never seen anything like it. These masterpieces of the great master gave impetus to the development of architecture in the organic style.

In 1921, bionic ideas were reflected in the construction Rudolf Steiner Goetheanum, and from that moment on, architects all over the world took organic matter into their “weapons”.

From the time of the Goetheanum to the present day, a large number of individual buildings and entire cities have been built in the organic style. The most influential representative of organic architecture in Europe was the Finn Alvar Aalto.

Style Features:

● Organic architecture is defined by forms that are not based on geometry. They dynamic, incorrect , arising as a result of contacts with reality. At the same time, 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 properties natural materials and organically integrated into the surrounding landscape. A supporter of the idea of ​​continuity of architectural space, Wright proposed to draw a line under the tradition of deliberately separating a building and its components from the surrounding world, which has dominated Western architectural thought since the time of Palladio. In his opinion, the shape of a building should each time follow from its specific purpose and the unique environmental conditions in which it is erected. 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 the main monuments of this trend were country mansions.

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

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

1 The relationship between natural and architectural forms

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

The relationship between architecture and nature is historically determined and develops along with society. Given relatively identical natural data, the appearance of a populated area or the compositional solution of an individual structure is determined by the creative method of the architect, his professional skill, knowledge of national traditions, and understanding of nature. When considering landscape design tasks for buildings and structures, three levels should be distinguished:

Formation of an architectural and landscape ensemble, harmonious inclusion of architectural structures in the natural environment, general compositional relationship between architecture and nature, maximum identification of natural prerequisites in the functional and compositional solution;

Detailed architectural and landscape design of open spaces adjacent to buildings and formed by them;

Introduction of natural elements into the architecture of the house.

The search for the integration of artificial and natural is gaining increasing popularity among architects. Recently, architects have consciously or intuitively begun to make wider use of 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 known that harmony of an architectural structure and landscape can be achieved by various techniques - contrast, neutrality or complete subordination. The placement of architectural structures is a form of transformation of the natural landscape. This transformation can be positive (when the structure is in harmony with the landscape in form, material, texture, scale and other compositional qualities) and negative (when architectural structures are not just contrasting with the landscape, but even disrupt 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 development and landscape. An architect often has to deal with features and forms of the landscape that he can do little to change. He must take them into account when designing. These permanent forms include river valleys, plains, lakes, mountain ranges and other large landscape forms.

Natural spatial forms are characterized by the following basic properties: size, geometric appearance, texture, color, light and shade, 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 subordinate to the environment, and a large sanatorium complex in a flat area, where it dominates, are perceived differently.

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

Both architectural structures and landscape forms can have a massive or openwork spatial structure. The dissected development and openwork structure of the building lead to greater consistency between the architecture and nature. The texture of the material plays a big role in harmonizing the architectural structure with the landscape. The simplest structures made of natural materials - wood, stone, reeds - are most organically linked compositionally with the natural environment. The texture of artificial building materials (plastic, aluminum, etc.) usually contrasts with the texture of natural components.

The dominant or subordinate position of a structure in the landscape is largely determined by its placement: along the relief and in its depressions leads to consistency, across the relief and at its high points - to contrast. Developments below the forest and among the forest are subordinated to the natural background, multi-storey buildings against the backdrop of plantings are always contrasting. Thus, in order for a 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 forms of the landscape, and a harmonious color combination of architectural and natural components.

2 Plants in the architecture of buildings and structures

Natural materials are used by architects in both the external and internal design of buildings. In the exterior - this is vertical landscaping of facades, landscaping and floral decoration of balconies, loggias, windows, architectural and landscape solutions for courtyards, terraces, flat roofs.

Small architectural forms for landscape improvement of balconies and loggias - floor and hanging flower boxes, trellises for climbing plants, flowerpots for hanging plants. It is necessary to achieve standardization and prefabrication of such equipment in order to avoid unwanted amateur activities that bring chaos to the architecture of buildings. Landscaping and floral decoration of loggias and balconies are primarily tasks of housing construction. 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 with a width of 20-30 cm and a height of 20-25 cm are often used (the length is determined depending on the overall composition 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 made of concrete, fireclay, and plastic. Concrete products are painted with waterproof polymer paint or contain colored pigments in the textured layer. Metal parts are coated with oil paint. It is better to make wooden elements from tinted wood, followed by coating with a colorless waterproof varnish. Plant boxes are installed on the floor or on the railings 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 hanging (hanging) or border plants (nasturtium, alyssum, lobelia, ageratum, tagetis, etc.) in the first row; in the second - pelargonium, tuberous begonia, zinnia, asters, petunia, etc., in the third - sweet peas, morning glory, beans, etc.

Integrated landscaping of residential buildings using high-quality plant equipment 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 residential buildings. Terrace gardens are like a continuation of the home, a “green living room”. This question is related to the organization of other types of roof gardens. Unfortunately, they are still not very common in modern domestic practice, although their design has been known since ancient times.

However, today we cannot talk only about roof gardens. It is more correct to raise the question about the principles of constructing gardens on various artificial foundations - roofs, terraces, overpasses, and ceilings of underground structures.

The construction of gardens on artificial foundations is associated with solving a number of socio-economic, environmental, technical and aesthetic problems. First of all, this is the economics of urban planning, the rational use of urban land, which stimulates the creation of multi-level above-ground structures with platform areas, overpasses, terraces for pedestrian traffic, parking lots and landscaped places for short-term recreation.

The multi-story nature of modern city development not only creates the prerequisites for the effective use of flat roofs of low-rise blocks as additional recreation areas, open-air summer cafes, etc., but also poses purely architectural and artistic tasks. So far, in most cases, from the windows and loggias of high-rise buildings there is an unsightly view of the black roofs of shopping centers, service blocks, etc. In the summer, the roofing felt-bitumen surface overheats, emits excess heat and far from harmless volatile substances, and generates dust in windy weather.

Depending on their location relative to 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 other structures raised above the ground, above underground structures and on structures that are partially buried or adjacent to a slope of the area. Thus, gardens on artificial foundations include those architectural and landscape objects in which green spaces are separated from the natural soil by certain building structures.

It must be borne in mind that the construction of gardens on artificial foundations 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 environmental opportunities for enriching the “fifth” facade of the city. By installing roof gardens, the microclimate and the overall landscape and artistic appearance of the city are improved. The problem of organizing gardens on artificial foundations is relevant not only for public centers and complexes, but also for industrial zones and residential buildings. In the territories of existing industrial facilities, it is often impossible to organize even small areas for short-term recreation, while the flat roofs of buildings are, as a rule, empty. The high density of buildings in old residential areas also does not allow increasing the area of ​​green spaces and areas for children to play and adults to relax.

Decorative gardens on the roofs are not intended to be visited by people, but serve exclusively aesthetic purposes, representing in fact decorative panels. Their coverings are made using both natural living and non-living (grass, mosses, flowers, low shrubs, stone, sometimes water) and artificial (ceramics, brick, glass, plastics, etc.) materials. The protective functions of roof gardens are mainly related to protecting buildings from excessive overheating and solar radiation. Based on the predominance of a particular material, water gardens (the most common type of protective garden in the south), plant and dry landscapes are distinguished. In a “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 divided into gardens with a soil layer in the form of a continuous cover or several sections separated by paths and platforms, and gardens in which the soil is placed only in special containers.

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

In practice, the second type of naturalized interior is more common - various forms of decorative landscaping and floral decoration of public and residential buildings. In public buildings, in addition to plants, swimming pools, fountains, sculpture, and inanimate natural materials - stone, sand, wood - are widely used.

Plants indoors play a sanitary, hygienic and decorative role. They accumulate fresh air, regulate temperature and humidity conditions, absorb noise and dust. All this, of course, is on a small scale.

The interior composition uses color, texture, patterns of leaves, flowers, silhouette, mass of plants and their other qualities. With the help of plants, space is divided and zoned. Various forms of execution are possible: a single plant (usually against the background of a clean wall plane); vertical gardening with climbing plants, installation of green borders, etc.

LECTURE No. 6

LANDSCAPE DESIGN OF TERRITORIES INTERVILLAGE SPACES

Basic principles for designing territories that are objects of protection (reserves, sanctuaries, national and natural parks, etc.)

Architectural and landscape organization of recreational territories (recreation places, recreational areas, recreational areas and regions).

Methodology for architectural and landscape design of road space.

Principles of formation and organization of territories of production facilities.

1 Basic principles for designing territories that are objects of protection (reserves, sanctuaries, national and natural parks, etc.)

At the regional level, architectural and landscape issues are components of larger environmental programs, which may differ depending on the type of regional planning, economic and natural conditions of the area, and its geographical location. In addition to a number of sections related to environmental protection issues (protection of the air basin, water basin, soil and vegetation cover, fauna, improvement of sanitary and epidemiological conditions, protection of the environment from the effects of noise, electromagnetic vibrations, radiation, etc.) and comprehensive environmental protection schemes with urban-ecological zoning, proposals for spatial localization of environmental protection measures, etc., the environmental program should include the following sections:

the formation of a unified system of green spaces in the region (establishing the minimum acceptable and optimal forest cover, the size and configuration of green areas, the formation of a “natural framework” of interconnected elements - forests and other plantings for various functional purposes);

protection of historical and cultural monuments (identification, systematization and development of proposals for the use and protection of architectural, historical, ethnographic and other monuments in connection with their natural environment);

creation of a system of protected areas (national and natural parks, reserves, wildlife sanctuaries, protected landscapes, individual objects of living and inanimate nature, etc.);

protection and improvement of landscapes (preservation, enrichment and purposeful formation of the appearance of natural and anthropogenic landscapes, territory reclamation, measures to improve the aesthetic qualities of landscapes, etc.).

Protected landscape objects include nature reserves, wildlife sanctuaries, landmark landscapes, as well as their individual components, monuments of landscape art, architectural and landscape ensembles, natural (national) parks, recreational areas (places of recreation and tourism). However, with the modern formulation of the problem of nature conservation, we cannot distinguish between protected and unprotected landscapes. Since the protection of nature and landscapes also means their rational use and scientifically based transformation (formation), and not just conservation, all landscapes must be protected.

The level of landscape protection is determined by the ratio of environmental protection and nature-transforming activities. Therefore, it became quite legitimate to introduce the concepts "specially protected landscape", "osoBo protected landscape areas",purpose whose environmental objectives prevail over nature-transforming ones.

Reserves- areas of practically unchanged natural landscapes, preserved as standards of natural complexes for comparison with economically used territories and identifying favorable or unfavorable results of society. The purpose of the reserves is to preserve the natural complex characteristic of a given landscape-geographical zone as a whole, to protect particularly noteworthy areas of the area that are scientifically, culturally and economically valuable, and to protect certain rare species of flora and fauna.

Wildlife sanctuaries- territories in which part of the natural complex is preserved with the exclusion from economic circulation only of those objects for which the reserve is organized (vegetation, fauna, etc.). Botanical, geological, hydrological, hunting, memorial and other reserves were known. Around state reserves and wildlife sanctuaries, if necessary, by government decision, additional protective zones are allocated, in which a regime is established that prohibits certain types of activities. In specially protected natural sites, from the point of view of planning and building architecture, there cannot be primary and secondary tasks. All service and utility buildings, every sign or other small architectural form must be subordinated to one goal - the protection and improvement of the landscape.

National natural parks- one of the promising forms of landscape protection and organization of recreation and tourism. In modern ideas about natural and national parks, there are two extreme points of view: natural parks are objects of nature conservation, such as nature reserves, into which tourists can be admitted very limitedly; natural parks are places of mass recreation in conditions of little changed nature.

A type of natural park in which the entire territory is organized according to the principle of a nature reserve is becoming widespread. Strictly regulated and controlled tourism is allowed along hiking trails with places to stay overnight (shelters, shelters, bungalows).

A search has begun for ways and measures to limit the flow of visitors. These measures are based on new environmental and recreational programs of parks, reducing entertainment and sports and recreational forms of recreation and tourism and strengthening educational and environmental educational functions.

Accordingly, a transformation of the architectural and planning organization of parks was required: reduction of the road network, removal of recreation complexes to buffer zones, etc.

The specially protected territory of the national park is surrounded by recreational buffer zones (“trap zones”) with service facilities, car entrances and parking lots, parkways, etc. The task is set of such an architectural-planning and architectural-landscape organization of a natural park, which should first of all serve as a tool for nature conservation, but proceed not so much from a system of prohibitions, but from the principle of forming a stable stereotype of behavior of tourists in nature.
The architectural and planning solution of a national (natural) park, the system and intensity of services depend on the expected attendance and forms of recreation and tourism, which in turn are determined by natural features (landscape diversity, the presence of water areas, mountains, hunting grounds, cultural monuments), location in relation to to cities, highways, etc. In connection with the growing need for places of organized recreation and tourism and at the same time with the differentiation of needs, proposals have emerged to identify different types of natural parks. For example, landscape-recreational, sports-recreational, hunting, architectural-historical, etc. Apparently, such a classification is acceptable, but the main task in the organization and operation of natural parks should remain environmental protection.

2 Architectural and landscape organization of recreational territories (recreation places, recreational areas, recreational areas and regions)

The formation of recreational landscapes is a long process and therefore requires advance planning. In areas planned for future recreational development, landscapes should be gradually transformed and improved: forest planting on inconvenient lands, creating reservoirs, thinning and landscape felling in existing forests, as well as new decorative plantings.

In places of the highest concentration of vacationers, forest parks are formed with an increased level of improvement, providing protection from recreational loads of up to 30-40 people/ha. As you move away from recreational facilities, beaches, cultural and public service centers, the level of improvement may decrease, gradually moving from the nature of a forest park (8-12 people/ha) to a recreational forest (3-10 people/ha).

The creation of artificial reservoirs significantly improves the quality of recreational landscapes. When using artificial reservoirs for recreational purposes, it is necessary that fluctuations in the water level in them during the swimming season do not exceed 0.2 m. Places for swimming should be allocated in an area limited by an isobath of 1.4 m. When designing reservoirs, it is recommended to proceed from the calculation 1 hectares of water surface per 1000 people. The coastal strip, 10-70 m wide, is the main concentration area of ​​vacationers. At 100-200 m from the shore of a reservoir, the number of vacationers is 4-5 times less than in the coastal strip, and at half a kilometer - 10 times less.

Pedestrian paths and alleys can reduce trampling of grass. It is recommended to allocate up to 8-12% of the territory for a road and path network in country parks, up to 4% in forest parks, and up to 1.5% in recreational forests.

Recreational areas vary in size, purpose, features of landscape and natural conditions and planning organization.

Resting-place- the primary element of recreational territorial formations with an area from several hectares to several square kilometers, for example a square, park, beach, collective garden, etc.

Recreational area(recreation and tourism area, resort) - a territorial formation from several tens to several hundred square kilometers, including recreation areas, complexes of recreational institutions, having a unified planning organization, service system, transport and engineering support.

Recreational area- a complex territorial formation with an area of ​​hundreds of square kilometers, uniting recreation areas based on common natural resources, economic, transport and other relationships.

Recreational region - the largest territorial formation with an area of ​​tens of thousands of kilometers, uniting recreational areas on the basis of common economic development.

Recreational areas and regions are identified, as a rule, on the basis of unique natural complexes (the southern coast of Crimea, the Carpathians, etc.).

For large and large cities, the first belt of recreational territories, created on the “threshold” of the city, is formed from the most frequently visited objects - parks, forest parks, sports complexes, etc. The next belt in terms of distance from the city is formed by territories and objects intended for short-term overnight recreation (camps and summer recreation centers, gardening associations, etc.). The third, most remote zone of recreational territories includes places and objects of predominantly long-term recreation (camps for schoolchildren and summer cottages for preschool children, boarding houses and recreation centers of enterprises and organizations, etc.), as well as places for short-term recreation in the natural environment (picking berries and mushrooms, hunting and etc.). In Fig. 4.3 shows zoning schemes for the territory according to the level of recreational loads with linear and compact placement of recreational complexes along the shore of the reservoir.

For many landscape conditions, the creation of extensive areas of continuous recreational development is unacceptable. It is recommended that complexes and individual institutions be separated from each other by arrays of green spaces that create visual and sound isolation and provide psychological comfort. The width of the strip of plantings separating complexes of recreational institutions should be at least 300-400 m, and for recreational institutions - 100-150 m.

Architectural and landscape design of the recreation and tourism system and its various spatial components due to the wide variety of types of recreation, types of recreational facilities, natural conditions and other factors is a rather complex task. Therefore, within the framework of the training course, we outlined only the main directions for solving problems.

IMAGESNATUREINARCHITECTURE

The development and emergence of new forms of social life, achievements 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 architectural form, which, just like the “classical” properties known to us, are involved in the formation of it beauty. At the same time, an interesting process occurs: the tendencies of shape formation in modern architecture (within the accepted concept of “abstract form”, “structure” or “system”) begin to converge, as it were, with the forms of living nature, to approach asymptomatically (never, of course, without approaching) them according to its properties, which are the result of the interaction of function, form and technology.

Aesthetic feelings are evoked by the properties we observe in living nature, 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 potential for resistance to mechanical stress; a freely developing space, characterized by diversity and transparency, which promotes deeply penetrating visual observation and holistic perception; structuring of space; alternation of various forms, structures, masses and space with gradual transitions, carried out using 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, used in architectural practice; dynamism - both real movements and figurative expression of the growth and development of forms, etc.

Architectural bionics seeks to study the objective patterns of manifestation of these properties and find their application in architecture not only for the purpose of solving purely practical problems - design, creation of enclosing surfaces, organization of the environment, etc., but also aesthetic problems associated with the harmonization of function , forms and techniques.

However, not only today, but, apparently, throughout the entire existence of architecture, architects artistically conceptualized, bringing to the level of figurativeness, the above-mentioned 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, this not only did not contradict the needs and development of the human spirit, but in many cases was necessary for its elevation, for the accomplishment of great social tasks through the means of the art of architecture.

Forms of nature and 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 forest motif - in the interiors of Gothic cathedrals, which gave them not only expressiveness, but also an ideological mood.

The dynamics of development, growth, and life aspiration in architecture are 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 living nature, a spiral is a functional manifestation of the rationality of growth and development of organisms: spiral-shaped shells, spiral arrangement of leaves on plant stems, spiral arrangement of petals and flowers, etc.

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

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

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

As a result of the practice of architecture, a number of techniques have been developed that help achieve 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 received 2nd prize) the design of the Bulgarian pavilion at EXPO 70 in Osaka (Fig. 99). He took a rose as the basis for the image and gave it the “dynamic” shape of a bud ready to bloom. In this decision of the architectural image, the choice of a rose seems completely justified: this is not a copying 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), proposed for construction in the area where the crew of his ship landed 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 ultimately victory. He “winged” the latter in the full sense of the word, attaching wings to the upper cone (growth cone), which, by the force of the wind, made it rotate (Fig. 100). It is known that in living nature, the “confrontation” of two cones is a characteristic tendency, clearly manifested, for example, in the shape of the crown and trunk of a spruce tree, in the development of mushrooms, etc.

Living nature can evoke even more deeply hidden sensory 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 the nature of their form - the vital spontaneity of diversity, even seeming chaos (like a city that was formed over many centuries and 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 interpreted correctly 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 aesthetic patterns 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 here are enormous,

It seems that associative thinking contributes to the understanding and reproduction of a holistic image, the harmony of the forms of living nature 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, I. Sh. Shevelev emphasizes, 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. Ancient architecture, for example, is associated with man, while ancient Russian architecture seems to be associated with images of nature.

Sometimes the question is asked: will architecture, in connection with the use of the laws of the formation of living nature, lose its national identity, which from the point of view of the development of national cultures would not be acceptable.

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 the development of national traits, namely in the aspect of interpreting regional, local forms of living nature in their holistic, spatial ecosystem. The latter, however, is far from the only one, but an integral part of the national environment.

At the same time, architectural bionics does not narrow architecture to a narrowly national one, since many patterns and principles of organization of living forms are universal, not to mention the fact that the use of the laws of the formation of living nature is not self-sufficient and is subordinate 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 so much that in fact completely new harmonious architectural-bionic systems, complexes, and urban-planning natural unities will arise.

Details Miscellaneous Aesthetics

The enrichment of the formal means of modern architecture through the use of increasingly complex surfaces and other spatial structures introduces a lot of new things into the development of architectural form, approaching the natural diversity of natural forms. Even a shopping center today should look like a work of architecture, and not a faceless box.
As noted above, the history of architecture gives us many examples of imitation of the forms of living nature. However, such an imitation was purely external and concerned mainly individual elements: columns, frieze, ornament, etc. On the contrary, the architectural composition of the building as a whole depended on the division into parts of its structure and the general appearance determined by its individual forms, similar to as in Ancient Egypt, an architrave of rectilinear outline was supported by columns of a phytomorphic nature.
Such a contradiction was overcome in the Doric temple of Ancient Greece through the use of curvature, entasis, thinning and other “optical corrections”. Thus, the composition acquired continuity, solidity and unity of a living organism. However, this was achieved only thanks to external similarity and a number of artificial techniques, such as, for example, imitation of the columnar shape of a plant.
Today, imitation has become obsolete, because the continuity and solidity of the material have become a reality, as well as integral unity, at least from a technical point of view. Achieving ideological and artistic unity is no less important for us, and its importance in art has now increased even more.
But how can we achieve a common material and technical structure? It can be achieved with the help of tectonics, identifying the plasticity of form and the widespread use of architectural composition tools associated with the laws of perception.
However, the expressive language of modern architecture cannot be identical to the language of the architecture of the past. It is no longer a question of expressing victory over the forces of gravity, overcoming heaviness and emphasizing the meaning of lightness. Today the task is to express first of all the victory of light “aerial” forms over immutability and then the victory over the differentiation of structural elements, emphasizing the importance of continuity and homogeneity of the material and the fact that the strength of spatial systems is largely determined by the properties of the form. The relationship between form and design is dialectical; they form an inextricable unity. This clearly demonstrates the law of continuous development of technology, which is most important for understanding the process of interaction between technology and architecture, as a reality that has a “revolutionizing” influence on more conservative architectural forms. However, the latter do not passively follow technology; they have relative independence and can influence structures, promoting their development or, conversely, restraining it.