Organic Architecture by Tripti Tiwari

Organic Architecture Interpretations of Organic Architecture

Tripti Tiwari

Guided by:Ar. Jasminder K. Vyas

Buddha Institute of Architecture and Town Planning, Udaipur, Rajasthan â&#x20AC;&#x201C; 313001 December -2017

Organic Architecture

UNDERTAKING I, Tripti Tiwari, the author of the dissertation titled â&#x20AC;&#x2DC;Organic Architectureâ&#x20AC;&#x2122;, hereby declare that this is an independent work of mine, carried out towards partial fulfilment of the requirements for the award of B.Arch. degree at Buddha Institute of Architecture and Town Planning, Udaipur, Rajasthan.

Tripti Tiwari Date: Place: Buddha Institute of Architecture and Town Planning

Disclaimer This document describes work undertaken as part of the B. Arch. degree at Buddha Institute of Architecture and Town Planning, Udaipur, Rajasthan. All views and opinions expressed therein remain the sole responsibility of the author, and do not necessarily represent those of the institute, the Dissertation Guide(s), or the Dissertation Committee.

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CERTIFICATE This is to certify that the dissertation titled Organic Architecture has been submitted by Tripti Tiwari towards partial fulfilment of the requirements for the award of B. Arch. degree, in accordance with the undertaking signed by the student on the previous page.

Tripti Tiwari Guide: Ar. Jasminder K. Vyas Date: 15thDec, 2017

Ar. Javed Ali Coordinator, Dissertation Committee, 2017 Date:

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PREFACE ‘Nature’ is the word which attracts and inspires me for the design as well as spiritually. The purpose of studying organic architecture is to know about nature’s integration in design. Since ancient time nature has been incorporates with design in many ways. The study tries to explore wide range of organic architecture including shapes and principle of it, and study all different opinions of architects and philosophers about it. This document will help to understand the conceptual design approach of some architects who lead the way of organic architecture, and how nature inspires the design of some well known architectural structures.

ACKNOWLEDGEMENTS I express my sincere gratitude to my guide Ar. Jasminder K. Vyas for her supervision and valuable insight into my work. Her guidance, care and expertise have been precious to me. Also, my sincere thanks to Ar. Javed Ali for the contribution of his valuable ideas for this study, and for his constructive criticism and helpful advices. I would like to thank the all library media specialists for their participation in the survey who supported my work in this way and helped me get results of better quality. I would like to thank my fellow students and friends for their feedback, cooperation, criticism and of course friendship: Darshna, Shivani, Arif, Abhinav, Rajat and Dharmesh. I would like to thank my siblings: Tejasvita and Swastik for their valuable inputs, and my parents for supporting me spiritually throughout writing this dissertation and my life in general.

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AIM:: to understand organic architecture and its contemporary importance. OBJECTIVE: 1. 2. 3. 4. 5.

To study and understand the origin and background of organic architecture. Understand nderstand the style and principle of organic architecture. Understand the influence of nature in buildings. buildings To understand the vernacular architecture in organic context. Understand the contemporary organic architecture.

SCOPE OF STUDY:    

There here are different theories and beliefs about organic architecture. The scope is to study different concepts of organic design. Learn from the statements about organic architecture given by great philoso philosophers phers and architects. Study the contemporary buildings of organic architecture. Study the vernacular architecture in context of nature.

METHODOLOGY

Definations by architects and philosophers

Find the different concepts of organic architecture.

Study the interpretations of Organic architecture

Study the vernacular : organic architecture

Study contemprory organic architecture

Organic Architecture

Content Chapter 1: Organic architecture: Introduction

[06]

Chapter 2: Harmony with nature

[07 - 15]

Chapter 3: Nature’s geometric laws

[16 – 22]

Chapter 4: Nature’s form

[22 – 25]

Chapter 5: Organic Vernacular architecture

[25 – 27]

Chapter 6: Contemporary Organic Architecture

[28 – 32]

Conclusion

[33]

Bibliography

[34 – 35]

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Chapter 1: Organic architecture: Introduction Definitions by pioneer architects and philosophers “All perfectly beautiful forms must be composed of curves; since there is hardly any common natural form in which it is possible to discover a straight line.” – John Ruskin (The Seven Lamps of Architecture, 1880) “...we, in our art, are to follow Nature’s process, Nature’s rhythms, those rhythms are vital, organic coherent, logical above all book-logic, and flow uninterrupted from cause to effect.” -Louis Sullivan (Kindergarten Chats 1901) “In an organic architecture the ground itself predetermines all features; the climate modifies them; available means limit then; function shapes them.” Frank Lloyd Wright, from “Broadacre City: A New Community Plan.” (Architectural Record, April 1935). “Real architecture arrive as a concept which grows from within outward through the natural use of materials – directed and ordered by the creative spirit – so that the form is one with function.” – Bruce Goff, 1942 “By organic architecture I mean an architecture that develops from within outward in harmony with the conditions of its being as distinguished from one that is applied from without.” Frank Lloyd Wright, from “In the Cause of Architecture: Second Paper.” (Architectural Record, May 1914) “Organic creation in art and architecture is not a style but a principle. No single style could possibly encompass the organic principle. It is a limitless paradigm.” – Eli Bornsteis, ‘Notes on Mechanical and the Organic in Art and Nature’ (The Structuralist 35/36, 1995-966) “In order to create for life, we must create nature does, organically and not geometrically.” – Hugo Haring, (“approach to Form”,1925-26) Organic Architecture - Use Nature as the basis for design. There are 3 interpretation of organic architecture1. The ideas of Violletle-Duc and Ruskin, which influenced Wright and Gaudi. 2. Mathematic and geometric laws that originate in nature. 3. Biomimicry – Inspiration from nature. http://hrcak.srce.hr/file/194091

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Chapter 2: Harmony with nature The ideas of Viollet-le-Duc and Ruskin, which influenced Wright and Gaudi. Viollet-le-Duc (1814-1879) was a French Gothic revival architect and a restorer of French medieval buildings. Through his knowledge of Gothic architecture, he perceived architecture as a harmonious system of construction and composition, yet without the imitation of Gothic forms and details. He defended the scientific rational approach to nature, based on geometric and physical laws. Along with many 19th-century theoreticians, he was convinced that, unlike painting and sculpture, architecture must not simply imitate nature, but should emulate its laws. He sought inspiration in the study of organic shapes such as leaves and animal skeletons (i.e. bats’ wings). Although the art of construction is a human creation, he claimed, the extent of human helplessness forces the artist to emulate nature’s use of the same elements, the same logical methods, the same subordination to certain laws and the same transfers. According to Viollet-le-Duc, the laws of nature stand in a complex mathematical, physical and functional interdependence, culminating in Unity. Construction, the strongest foundation of the Law of Unity, can also be found in nature. By using the gothic model he insisted that materials must be used honestly and that buildings’ exterior should reflect rational construction. - (https://www.researchgate.net/publication/290245856_Interpretations_of_organic_architecture http://hrcak.srce.hr/file/194091 )

(http://4.bp.blogspot.com/-xpeb_vV72Ac/VLu66Cp7BrI/AAAAAAAAA8s/IARDSsegAQ0/s1600/1-18V-le-DMontBlanc.jpg )

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(http://etc.usf.edu/clipart/69300/69341/69341_class_animal.html ) (http://oecodomic.blogspot.in/2013/02/recallingviollet-le-duc-in-boston-and.html)

John Ruskin strongly influenced the architects of the period, particularly through his essay The Seven Lamps of Architecture (1880), emphasizing the significance of the handcrafted and honest display of material and construction. He insisted that buildings should express the power of nature, and ornamentation should draw on nature and its creations. Beauty should stem from nature and be designed to fit mankind. The publications of john Ruskin and violet- le-Duc were popular in Europe and USA in late 19 th and early 20th century. There work inspired leading architects including Louis Sullivan, Frank Lloyd Wright and Antoni Gaudi.

The Organic Architecture of Frank Llyod Wright Frank Lloyd Wright said that while every architect must study the history of architecture, he must not copy the forms of the past in design and constructing, but should only explore their generic principles. Wright’s understanding of the relation between architecture, architect and nature wholly agreed with Viollet-le-Duc’s. Moreover, he found confirmation for his “organic” ideals in Japanese art and traditional architecture, and by connecting the conventional Western version of space with the Eastern one he created his own architectural style. Wright’s understanding of Japanese

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architecture gave rise to his demand for unity, harmony and simplicity as well as for the demand to respect the nature of building materials and the uniqueness of anything individual. Wright failed to fully verbally define his organic architecture, yet its principles are expressed in his works. (https://www.researchgate.net/publication/290245856_Interpretations_of_organic_architecture )

Some principles of Wright’s organic architecture and the outlines of his general philosophy are as followsBuilding and Site The two have a very special relationship in organic architecture. The site should be enhanced by the building, and the building derives its form partially from the nature of the site. Sometimes this is done by similarity (prairie house and prairie landscape), sometimes by contrast (Fallingwater and a forest glen) (https://www.academia.edu/19523238/Wright_Organic_Architecture). On the visit of the site of falling water, Wright spotted a rock that jutted out over the streaming water, and decided to build the house there and let the water flow underneath (http://mentalfloss.com/article/90823/12-facts-aboutfrank-lloyd-wrights-fallingwater). In natural settings, the buildings may open out (Usonian houses), and in

urban settings, turn inward (the Larkin and Johnson Wax Buildings). The building grows out of the landscape as naturally as any plant; its relationship to the site is so unique that it would be out of place elsewhere. (https://www.academia.edu/19523238/Wright_Organic_Architecture)

(1)Taliesin Photo courtesy of Wisconsin Department of Tourism (https://www.mprnews.org/story/2007/01/19/flwrightprofile) (2)Fallingwater (http://www.nasjonalmuseet.no/en/exhibitions_and_events/events/villa_stenersen/Lecture+in+Villa+Stenersen%3A+Directo r+Lynda+S.+Waggoner%2C+«Frank+Lloyd+Wright+and+Fallingwater».b7C_wtHOWc.ips )

Materials These are used simply in a way that enhances their innate character and optimizes their individual color, texture, and strength. One material is not disguised as another. The way a building comes

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together, how one material joins another; the very form of the building should be an expression of the nature of the materials used. In organic architecture, only a few materials are used, both inside and outside. (https://www.academia.edu/19523238/Wright_Organic_Architecture)

(1)Fallingwater (http://ideasgn.com/architecture/fallingwater-frank-lloyd-wright/attachment/fallingwater-by-frank-lloydwright-017/ ) (2)Heart shaped island ( http://www.travelandleisure.com/culture-design/architecture-design/peta-island-frank-lloydwright#aerial )

Shelter A building should convey a sense of shelter, refuge, or protection against the elements. Its inhabitants should never lack privacy or feel exposed and unprotected. (https://www.academia.edu/19523238/Wright_Organic_Architecture) Space â&#x20AC;&#x153;The reality of the building does not consist of the roof and the walls but the space within to be lived inâ&#x20AC;?, said Wright. The interior space determines exterior form (as in Unity Temple). Interior space is not packed in boxes called rooms; rather, space should flow freely from interior area to interior area. Rooms are never simple rectangles but are broken up vertically and horizontally (alcoves, L-shapes, lowered ceilings, and decks) to give the eye and mind something delightful and sometimes something mysterious to enjoy. An area is never fully comprehended when viewed from one point but must be slowly experienced as one moves through the space. One space can introduce another, heightening the effect, or function as part of a series, such as the playroom hallway and the playroom in the home. (https://www.academia.edu/19523238/Wright_Organic_Architecture)

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(1)

(2)

1-Unity Temple (Photograph by Flickr user Sandra Cohen-Rose and Colin Rose https://www.dezeen.com/2017/06/12/unity-temple-frank-lloyd-wright-chicago-oak-park-modern-architecture-150thbirthday/ ) 2- Hanna House (https://www.pinterest.com.au/souhairq/frank-lloyd-wright-interior-design/ )

Proportion and Scale The human body should be the measure of a building and its furnishings. Wright spoke of the “integral harmony of proportion to the human figure—to have all details so designed as to make the human relationship to architecture not only convenient but charming.” (https://www.academia.edu/19523238/Wright_Organic_Architecture) Nature Nature is an architect’s school. The creative possibilities of form, color, pattern, texture, proportion, rhythm, and growth are all demonstrated in nature. Organic architecture does not imitate nature but is concerned with natural materials, the site, and the people who will occupy the buildings. (https://www.academia.edu/19523238/Wright_Organic_Architecture) Repose Quiet, serene, tranquil space is a fitting environment for human growth. It is achieved by simple architectural masses that reflect the uncluttered spaces within and that are carefully related to the site. (https://www.academia.edu/19523238/Wright_Organic_Architecture) Grammar Each building has its own grammar, its distinct vocabulary of pattern and form. All parts of the building from the smallest detail to the overall form thus speak the same language. The grammar

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may be completely different for two buildings, although both are organically designed (the Johnson Wax Building versus Taliesin West). (https://www.academia.edu/19523238/Wright_Organic_Architecture)

(1)

(2)

Taliesin West (https://www.expedia.com.hk/en/Taliesin-West-Phoenix.d502323.Place-To-Visit ) The Johnson Wax Building (https://www.archdaily.com/544911/ad-classics-sc-johnson-wax-research-tower-frank-lloydwright/5367198fc07a800779000087-ad-classics-sc-johnson-wax-research-tower-frank-lloyd-wright-photo )

Not all organic architecture has ornament, but when used, it is developed as an integral part of the material, not applied. Examples are patterns cast in concrete or carved in stone, leaded glass panels, and tile or glass mosaics.(https://www.academia.edu/19523238/Wright_Organic_Architecture) Human Values “All values are human values or else not valuable”, said Wright. “Human use and comfort should have intimate possession of every interior—should be felt in every exterior.” (https://www.academia.edu/19523238/Wright_Organic_Architecture) Simplicity Organic architecture is simple because its scheme and design are clear. “The highest form of simplicity is not simple in the sense that the infant intelligence is simple—nor, for that matter, the side of a barn. Simplicity in art is a synthetic positive quality in which we may see evidence of mind, breadth of scheme, wealth of detail and withal a sense of completeness found in a tree or flower.” (https://www.academia.edu/19523238/Wright_Organic_Architecture) Mechanical Systems and Furnishings These are an integral part of the building: they are not added on, stuck in or unduly exposed. Sculpture and painting have to become elements of the total design. Furniture should be built-in as much as possible.

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(1 Frank Lloyd Wright, Frederick Gutheim, Editor. In the Cause of Architecture: Essays by Frank Lloyd Wright for the Architectural Record, 1908-1952. (New York: McGraw-Hill, 1975) (https://www.academia.edu/19523238/Wright_Organic_Architecture) The organic architecture of Antoni Gaudi Gaudi took inspiration from Ruskin’s idea that ‘Ornament is the origin of Architecture’. He influenced by ‘Viollet-le-Duc’, for him The Gothic form was functional and aesthetic at the same time. He uses language of Nature as the Structure of buildings, and ornaments that features gigantic monsters dinosaurs and dragons, as well as trees and plants. (https://www.researchgate.net/publication/290245856_Interpretations_of_organic_architecture )

He found monochrome and uniformity of colors unnatural. His projects are innovative and show his love for nature and geometry. Some of his works are as followsPark Guell

Structure (https://www.archdaily.com/329433/ad-classics-parc-guell-antoni-gaudi )

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Ornaments (https://www.barcelona.de/en/barcelona-parc-guell.html http://wanderingtrader.com/travel-photos/parcguell-lizard-barcelona/ )

Park Guell (1914) is located in Barcelona. This is a tourist attraction in Barcelona , and is known for its famous terrace and iconic entrance. Gaudi shows his respect towards nature by Curved stone columns , as well as local brick and stone that preserve the natural feeling of the landscape. Most importantly, GaudĂ mixes his flamboyant(denoting a style of French Gothic architecture marked by wavy flame-like tracery and ornate decoration) style with nature to come up with structures that rise from the ground like trees but are identifiable as built elements. The simultaneous accommodation of and respect for nature is one of the most beautiful qualities of this work, where Gaudi is said to make visual jokes, experimenting with the relationship between nature and architecture. (http://arquitectura.estudioquagliata.com/tag/housing/page/66)

Casa Batllo

http://www.idesign.wiki/tag/architecture/

The inspiring imagination of Antoni GaudĂ undoubtedly reveals itself in one of his most poetic and artistic designs for a building, Casa BatllĂł. His synthesis of animal shapes, vine-like curves, hints of

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bone and skeleton, and his use of lustrous colored bits of glazed ceramic and glass create a masterpiece that will forever astonish its observers. The spine is dotted with bulbous green and blue vertebrae, suggesting that these might be organisms in themselves, while the flowing lines where roof meets facade are edged with other armatures of saurian bone and joint. (https://www.archdaily.com/90689/ad-classics-casa-batllo-antoni-gaudi)

(https://www.archdaily.com/search/projects/categories/houses/country/spain/offices/antoni-gaudi

The creaturesque resemblance is made strikingly apparent at night, when the facade glows and haunts with it's bone-like skeletal structures and dramatic shadows. Antoni GaudĂ worked closely with a textile manufacturer named Josep Maria Jujol who assisted primarily in the ornamentation and use of color on the surface treatments. (https://www.archdaily.com/90689/ad-classics-casa-batllo-antoni-gaudi) (https://www.archdaily.com/search/projects/categories/houses/country/spain/offices/antoni-gaudi )

(https://www.flickr.com/photos/ioan_bacivarov/galleries/72157636184067174/?rb=1

)

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Chapter 3: Natureâ&#x20AC;&#x2122;s geometric laws Mathematic and geometric laws that originate in nature. We are surrounded by an infinite diversity of shapes. Patterns and shapes in nature include mathematical rules and reflect regularity, unity and symmetry, which are experienced as harmony. What we find so attractive in nature is in fact mathematic regularity (Finsterwalder, 2011: 15)

Mathematics and Geometry as Tools for Organic Shapes- this is the second interpretation of Organic Architecture. Geometry is the bridge between design and construction. From ancient time building are constructed on the base of geometric shape and series of numbers, these shapes and series were originate from nature. To understand the relation of geometric shapes and nature and their use in architecture we will go through some laws of geometry. Golden ratio- it is a special number found by dividing a line into two parts so that the longer part divided by the smaller part is also equal to the whole length divided by the longer part. It is often symbolized using phi, after the 21st letter of the Greek alphabet. In an equation form, it looks like this: a/b = (a+b)/a = 1.6180339887498948420 â&#x20AC;Ś (https://www.livescience.com/37704-phi-golden-ratio.html )

(https://www.livescience.com/37704-phi-golden-ratio.html )

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The Fibonacci Numbers â&#x20AC;&#x201C; Named after Fibonacci (Leonardo Pisano Bigollo) o) It is a series of numbers where a number is found by adding up the two numbers before it. Starting with 0 and 1, the sequence goes 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, and so forth. Written as a rule, the expression is xn = xn-1 + xn-2. (https://www.livescience.com/37470 https://www.livescience.com/37470fibonacci-sequence.html)

(http://pi3.sites.sheffield.ac.uk/tutorials/week http://pi3.sites.sheffield.ac.uk/tutorials/week-1-fibonacci )

The Fibonacci Numbers (logarithmic spiral )in Nature Nature-

1 Sea shells

2 Galaxy

Organic Architecture

Low pressure system over Iceland

Flower

1 (http://krystaljesus.blogspot.in/2010/02/fibonacci-sequence-natural-intelligence.html ) 2(https://www.pinterest.co.uk/nest34/gods-fingerprint-investigating-fibonacci/?lp=true ) 3(https://en.wikipedia.org/wiki/Logarithmic_spiral#/media/File:Low_pressure_system_over_Iceland.jpg ) 4(https://i.pinimg.com/236x/01/93/7d/01937db00cb4a92a79eeebd357b33310.jpg )

Golden section in Human Body The white line is the body's height. The blue line, a golden section of the white line, defines the distance from the head to the finger tips The yellow line, a golden section of the blue line, defines the distance from the head to the navel and the elbows. The green line, a golden section of the yellow line, defines the distance from the head to the pectorals and inside top of the arms, the width of the shoulders, the length of the forearm and the shin bone. The magenta line, a golden section of the green line, defines the distance from the head to the base of the skull and the width of the abdomen. (https://www.goldennumber.net/human-body/) (https://www.goldennumber.net/human-body/)

Organic Architecture

Use of golden ratio and geometry in Architecture â&#x20AC;&#x201C; The earliest civilizations found their inspiration in nature for simple, basic geometric shapes. They created harmonic proportions by connecting the circle, ellipsis, triangle and rectangle (i.e. the Golden Section). . ( Scholarly Journal of Architecture and Urban Planning University of Zagreb, Faculty of Architecture)

In the volute of the Ionic column, spirals are represented. The oldest architectural example of a spiral building is the Tower of Babel. By means of the Golden Section, the Greeks defined the distances between columns. . ( Scholarly Journal of Architecture and Urban Planning University of Zagreb, Faculty of Architecture)

From basic geometric shapes, the Etruscans developed the arch and the vault, and the Romans continued this development by expanding it into the dome, a much stronger supporting construction until now known post and beam. ( Scholarly Journal of Architecture and Urban Planning University of Zagreb, Faculty of Architecture)

Parthenon

(http://widaus.com/golden-ratio-in-architecture/ ) Golden section appears in many of the proportions of the Parthenon in Greece. Front elevation is built on the golden section (0.618 times as wide as it is tall)

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Taj Mahal

http://widaus.com/golden-ratio-in-architecture/golden-ratio-in-architecture-unique-golden-rectangle-in-architecturecomplexity-for-simpleness/

(https://www.goldennumber.net/golden-section/ )

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Notre Dame

UN secretariat

(https://www.goldennumber.net/golden-section/ ) In the image of Notre Dame the blue line is golden section of white line, the image is describing the golden ratio in western facade of Notre dame. The second image is showing the golden proportion in UN Secretariat building, the width is golden section of the height, and same proportion is showing in the elevation by using different material.

Farnsworth House

Plan

Elevation (https://www.behance.net/gallery/12471003/van-der-Rohes-Farnsworth-House-Geometric-Analysis)

Organic Architecture

Chapter 4: Nature’s form Biomimicry – Inspiration from nature According to the third interpretation, organic architecture finds inspiration in nature and imitates the shapes of living things. http://hrcak.srce.hr/file/194091 We tend to look for answers from nature when we come across technical problems. We are often inspired by organism’s qualities, which can result in bionic design. That is why these solutions are also named as bio-inspired design.( Discussion on Theories of Bionic Design) If we want to seek sustainable development, we have to learn from nature and apply it in our life and technologies – Janine M. Benyus (Biomimicry) Bionic architecture is based on the development of Bionics. In 1983, the German J. S. Lebedew published a book called ‘Architecture and Bionic’, in which he indicates that the problems occurred in architectures have already been solved in the natural system. A perfect protection system is evolved as high-efficiency and low-energy to favour the organisms in surviving from the evolution; and this system is therefore became the best example of coordinating with nature from the human societies in bionic architecture researches. (Yang and Lo, 2005) D’Arcy Wentworth Thompson discovered that organisms developed their own structural forms in response to forces in interrelation to movement that strengthens the organism when necessary, reinforcing structures in critical places by means either of reinforcement or the reduction of redundant material.( Tzonis, Lefaivre, 1995: 127) The Gherkin Tower by Norman Foster in 2003 is a good example of bionic architectur. It has a hexagonal skin inspired by the Venus flower basket sponge. The sponge has lattice-like exoskeleton that appears glassy glowing in its underwater environment. This fibrous lattice helps the organism to disperse stress in various directions, and its round shape reduces the forces of strong water currents.

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1 (https://www.thesun.co.uk/tvandshowbiz/4796384/blue-planet-ten-inch-penis-sponge/ ) 2( http://ican-films.com/en/films/cinema-documentaries/building-the-gherkin)

Foster use the lattice-like exoskeleton as structural concept for the Gherkin Tower. And the round shape helps this high rise structure to reduce the force of strong wind load. The Eden Project Biome – Designed by Grimshaw Architects, it have two Biome buildings – 1st the Rainforest Biome and 2nd the Mediterranean Biome – both structures have several domes joined together, and are joined in the middle by the Link building. (https://en.wikiarquitectura.com/building/edenproject/#lg=1&slide=19 )

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(https://en.wikiarquitectura.com/building/eden-project/#lg=1&slide=19 )

Inspiration came from a range of biological structures including soap bubbles, carbon molecules and radiolaria. The result is one of the lightest structures ever created and a building that is largely selfheating using passive solar design principles. . (www.exploration-architecture.com/projects/the-eden-projectbiomes)

While working on the Eden Project we turned to nature at every stage in the design process â&#x20AC;&#x201C; looking at clusters of bubbles for the form, to the structure of a dragon fly wing to resolve the way steel members intersected at the junctions. (www.exploration-architecture.com/projects/the-eden-projectbiomes)

The visionary architect Buckminster Fuller had demonstrated that the most efficient structure for a spherical surface is a geodesic arrangement of hexagons and pentagons. By cutting away the parts of the bubble model that would be below ground and applying a geodesic structure to the surface we arrived at the first image that looked something like a building. Many different iterations of this design exercise were carried out in order to optimize the building form and itâ&#x20AC;&#x2122;s position on the site . (www.exploration-architecture.com/projects/the-eden-project-biomes)

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3 1http://www.morphographic.com/Gallery/GalleryRadiolarian.htm 2https://samjshah.com/2008/08/17/lord-kelvin-bubbles-and-the-olympics/ 3 https://www.researchgate.net/figure/258311355_fig1_Figure-1-The-schematic-structures-of-nanoscale-carbonmaterials

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Chapter 5: Organic Vernacular architecture

Primitive vernacular architecture was innately organic, based on natural forms and structures and simple, local materials. More deeply, it was part of a spiritual continuum of survival and fertility, life and death that linked earth to spirit. (http://www.arch.mcgill.ca/prof/sijpkes/arch374/winter2002/pslizhou/history.htm)

In Vernacular architecture, buildings should be constructed by local people (users) with local available natural materials. So, vernacular buildings show the truth of materials. Buildings are constructed by local materials and sometimes these materials found on the site itself, it helps the building to merge with the site. Vernacular architecture maintains harmony with the surroundings and environment (nature). Buildings are made by the user for the user so we can say that human values are considered and having priority in vernacular architecture. Vernacular architecture is connected with nature with its roots and inspired by the local environment, materials and techniques. In Natural Vernacular design, the local built environment is studied as well as the survival mechanisms of the local flora and fauna. Observations of biological evolutions can give a designer more insight into creating a truly sustainable design. (https://clarkrichardson.wordpress.com/2011/11/12/thenatural-vernacular/ )

1 Iceland's Turf Houses http://www.nationalgeographic.com.au/travel/icelands-turf-houses-merge-beautifully-with-nature.aspx/ 2Konkanahttp://konkanarchitecture.blogspot.in/

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3 village in Jaisalmer jhttp://www.dsource.in/resource/village-exhibition-manav-sangrahalaya/village-exhibition/desertvillage 4 Nubra Valley Ladakh http://educare.in/about-us/vikas-centres/lehladakh/

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Chapter 6: Contemporary Organic Architecture The organic architecture of the 21st century is facing new challenges. Presently, it mostly focuses on non-orthogonal forms due to the design potential of digital tools. But the principles of sustainable architecture demand that buildings are connected with their surroundings as much as is possible, meaning that contemporary architecture is returning to the original, Wright’s interpretation of organic architecture. (https://www.researchgate.net/publication/290245856_Interpretations_of_organic_architecture )

The contemporary organic architecture can be understood by over viewing these 2 buildings; both are located in New Delhi, India. On first glance one(The Lotus temple) can be considered as an example of Biomimicry, and the second (India Habitat Centre) one blend in with its surroundings through its natural embellishments.

Lotus Temple

Architects Fariborz Sahba Location New Delhi, India Project Year 1986 (https://en.wikiarquitectura.com/building/lo tus-temple-bahai-house-of-worship/) (https://www.archdaily.com/158522/ad-classics-lotus-temple-fariborz-sahba/503818f028ba0d599b000e44-ad-classicslotus-temple-fariborz-sahba-photo-by-futo-tussauds-http-wwlickom-photos-38461777-at-n05)

Influence Before beginning the design, the architect travelled around India to study the country’s architecture and was impressed with the design of the temples, as well as the art and religious symbols, in which the lotus flower always played an important role. Inspired by this experience, and with the objective of representing the concept of purity, simplicity and freshness of the Bahá’í faith, he conceived the design of the Delhi temple in the form of a lotus flower. The temple gives the impression of a semiopen lotus, floating, surrounded by its leaves. Each component of the temple is repeated nine times. In the Hindu opinion, the lotus has always been the most beautiful flower, enjoying an

Organic Architecture

unprecedented popularity throughout India since the beginning of time through to modern day, as demonstrated in both literature and art, and appearing in the oldest monuments of Hindu architecture. This concept had to be converted into defined geometric forms, such as spheres, cylinders, toroids and cones, which were translated into equations and later used as a base for the structural analysis and engineering plans. The resulting geometry was so complex that the plans for the temple took two and a half years to complete. (https://en.wikiarquitectura.com/building/lotus-templebahai-house-of-worship/)

(https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/)

Its external structure is formed of 27 giant marble petals which envelope the interior space, respecting the circular alignment of Bahá’í architecture. The interior has capacity for 2500 people. It is accessed via nine bridges which cross nine ponds surrounding the temple and provide access to nine doors. The doorways lead to a central area which reaches 40 metres in height, though shows no visible supports. The temple is surrounded by gardens and its location in the centre of the ponds creates the impression of a giant lotus flower floating on the water. Along with the nine ponds around the temple and the gardens, the area occupied by the Lotus Temple is 105,000m². The external covering of white marble ensures the building is visible from a distance and shines with the

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rays of the sun, turning violet at sunset. (https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-ofworship/)

1(https://www.tripoto.com/trip/lotus-temple-delhi-the-bahai-temple) 2(https://www.mapsofindia.com/delhi/places-of-interest/religious-places/lotus-temple.html)

India Habitat Centre India Habitat centre is designed by architect Joseph Allen Stein. It is a hub for cultural, economic, business and social events. The architect incorporates local materials into the modern structure. The balance between nature and building blocks of IHC, show the organic approach to the design. Nature Though of an imposing nature, the building complex manages to blend in with its surroundings through its natural embellishments. In keeping with its habitat theme, the whole complex has been generously provided with natural greenery to provide an undiluted experience of open nature. (http://www.archinomy.com/case-studies/270/indian-habitat-center-new-delhi )

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(http://www.fuccha.in/8-reasons-why-indian-habitat-center-is-one-of-the-best-hangout-places-in-delhi )

Repose – The fountain just beyond the second entrance serves purpose not only by being spectacular, but also by relieving the surroundings of the heat. (http://www.archinomy.com/case-studies/270/indian-habitat-centernew-delhi ). The courtyard is green, with lots of trees, palms etc, with a constant flow of natural air

through the spaces. Sunlight streams into the space, being broken by the large space frame structure on the roof level with blue sun shading element. .(http://arkistudentscorner.blogspot.in/2011/07/india-habitatcentre-new-delhi.html) . All these elements make the space comfortable.

Scale & Proportion – One of the reasons why the courtyard is so comfortable is because of its scale. It is monumental. The tall building masses enclosing the large space in the centre are completed by the huge palms & other trees, which tower to the roof. Yet, in spite of the monumental scale, one does not feel lost in this space. There are plants along the base of the large trees scaled to the human height, which help in breaking down the scale.(http://arkistudentscorner.blogspot.in/2011/07/india-habitat-centre-new-delhi.html) Space – The spaces are so juxtaposed that one is led to explore and discover the remaining areas. The mystery of the space is further accentuated with level differences & steps leading to enclosed spaces and even a half concealed amphitheatre. There are strategically placed sculptures which give

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an artistic touch to the spaces. (http://arkistudentscorner.blogspot.in/2011/07/india-habitat-centre-newdelhi.html)

(http://www.indiaheritagedesk.com/beyond-barriers-29-sep-2016-at-ihc-new-delhi/#iLightbox[gallery2146]/0 )

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ConclusionOrganic architecture has three concepts: 1. Incorporate the nature into the design of the building by connecting or merging it with the surroundings.(Frank Lloyd Wright) and using natural laws in construction and design of the building.(Antoni Gaudi) 2. Architecture based on the geometry and mathematics found in nature and its laws. 3. Took inspiration from living organism and applying them in the design. As the population is increasing constantly, urbanisation is on its peek worldwide. We tend to build structures having maximum space utilization in providing shelter, and compact the natural/green land. This situation increases the environmental issues as well as physical and mental health issues. So, it is important to synchronize architectural structures with nature, by involving the nature in the userâ&#x20AC;&#x2122;s everyday life through connecting the interior to natural surroundings. The learning will certainly lead me towards my thesis based on similar ideas.

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