By Henry Cardona Meza
Throughout the ages, designers and architects have searched for means to assist them in the process of creation of new harmonious forms. In this way composition rules like classicism were established for architectural objects of rectangular kind. But for those objects, which remind us of organic forms, a common criterion of their characteristics has still not been adopted.
Natural spatial systems in general, have a curvaceous form. This fact makes possible the practice of such spatial composition in bio-architecture. We should evaluate the aesthetic structure and composition of those architectural objects through the method of analogy. That evaluation takes place in the conscious, because of the influence those forms can cause on the human sensory organs. That is to say reaction or acceptance. The structure of natural forms, their colour and surface texture are subordinated to the whole. In the whole of content and formation of living systems, the secret of their beauty obviously exists. Similarly, the architect’s principal responsibility is to create a meaningful form through several means by which it gives expressive qualities like scale, light, texture and colour.
The study of natural forms, in which geometry serves as a methodological process for use in architecture, is not the final intention of the bionics method. The enormous possibilities that we usually discover in natural materials and their properties led us to persist in the experimentation to develop new promissory constructive materials for use in future buildings that our fantasies can create. To inspire our imagination, we can simply try to understand the biological principle of a cable safety system along the lines of spiders’ threads. It still needs to be invented for suspension bridges.