Architectural creation based on natural forms

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The information is sourced from the internet and is provided for everyone’s learning purposes! ! ! Abstract: This paper explores how to draw creative inspiration from nature, seeks an ideal approach to the organic integration of architecture and nature, proposes strategies for architectural creation based on natural forms, and presents preliminary considerations using the design plan for the Chongqing Natural History Museum as an example. 　　Keywords: natural form ； Spiral gene ； Museum architects have been seeking a way: if nature is an organic whole that is both logical and natural, with each part serving the whole, then by emulating nature we can surely find an ideal approach to integrating architecture with nature – and this is the origin of architectural creation based on natural forms. However, when faced with extremely complex and diverse natural forms, determining how to integrate them with architecture becomes the biggest challenge. This paper takes the design of the Chongqing Natural History Museum as an example to explore architectural creation based on natural forms. 　　 　　1 Theoretical Exploration – Design Strategies Based on Natural Forms 　　　Nature embodies the laws governing the composition of matter and the principles of biological evolution; it represents a high degree of unity between function and form, harmony between materials and structure, as well as the way in which form reflects physical laws. Therefore, by delving into specific design strategies, we can move from imitating particular forms to abstracting their elements, progressing from the surface to the core and from the superficial to the deeper levels, in order to develop a comprehensive set of design methods. 　　1.1 Direct imitation of natural forms The external environment constitutes the backdrop for the existence of buildings, and it determines certain inherent characteristics of these buildings from the very beginning. The most advantageous aspect of buildings in natural forms is that they take environmental factors into account in their design. (Figure 1) 1.1.1 Conceptualization from the Perspective of Terrain Architectural creation that draws on natural forms emphasizes the similarity between architectural forms and those of nature, adopting a humble attitude toward the existing terrain so that the building adapts to it. It includes the original topography of the site, the natural landscapes in the surrounding area, as well as climate conditions and the urban context; these external factors all exert an influence on the building, having a comprehensive impact on it. At the same time, the building also serves as a compensation for the shortcomings of the environment. For example, if the site inspection is carried out on a sunny day at the beginning, it is also necessary to go there on a rainy day to assess the drainage and environmental conditions there. One should also pay attention to what kinds of flowers are blooming and what trees are growing in the area around the site, as all these can serve as starting points for generating ideas for the plan. 　　1.1.2 Conceptualization from the Forms of Objects Since ancient times, people have naturally applied familiar object forms to architecture, turning them into pleasing decorations or components. The leaf-shaped decorations on the capitals of ancient Greek columns, as well as the animal-head-shaped drainage openings in ancient Chinese architecture, are all typical examples. The imitation of object forms by architecture can convey the most straightforward meaning, allowing one to understand the architect’s intent at a glance without any additional explanation. 　　1.1.3 Conceptualizing using natural spaces There are many natural spatial forms in the world, characterized by strong irregularities, ambiguity, and organic shapes – such as the interior of sponges, the blood vessels in the human body, and the cavities in animals. We can draw inspiration from these natural spaces and apply their principles to architectural design. Imagine what it would be like to place people in spaces that cannot be perceived in real life, yet are still very close to us – what kind of experience would that be? 　　1.1.4 Conceptualization using natural materials Fully expressing the inherent properties and external forms of materials is also an important aspect of the creative approach to architecture in a natural style. Natural materials originate from nature; they include commonly used building materials such as bamboo and wood. Due to their distinct characteristic traits, it is necessary for us to understand these materials more deeply and to reflect those characteristics in our designs. Since bamboo is slender in shape, has a low weight, and is elastic, it is suitable for being shaped into organic forms such as nets or curved surfaces. 　　1.2 Abstraction and metaphor of natural forms Abstract conceptual thinking still stems from a renewed understanding of nature. Abstraction involves refining and combining through thought, as well as transforming “impressions” into “language”. The process of abstraction consists of two parts: one is to identify the most important characteristics of natural forms as a basis for representation ； Second, identify the general characteristics of natural forms within a certain range and reproduce them in an architectural manner. Abstraction does not emphasize the visual similarity between the architectural form and the object it imitates; in fact, there is no fixed object of imitation at all. The form is rather a combination of various natural forms. Therefore, designers need to have a deep understanding of natural forms as well as a rich imagination, so that their thinking is not constrained by inertia and they can freely combine the forms in their minds. (Figure 2) 1.2.1 Conceptualization from natural circulation: The building takes energy cycles such as sunlight, ventilation, lighting, soil, and plants as the starting point for its conceptual design. For example, when rainwater falls on the green roofs of buildings, it is collected and stored through rainwater harvesting systems, and then used to water the plants in the gardens, thus enabling a cycle of reuse for this rainwater ； For example, on the surface, urban forms may seem chaotic and disorganized; but if thought about in reverse, isn’t this precisely the landscape that results from giving priority to \"comfortable use\"? Although it has an irregular shape, it features hills and valleys that ensure adequate sunlight and ventilation, thus resembling nature. Therefore, \"designing based on natural cycles\" does not involve visually \"organizing\" nature, but rather adapting to natural elements such as light, temperature, and humidity in a deeper way to create new landscapes. 　　1.2.2 Conceiving in the form of life: Undulating ripples, folds in the earth, rocks eroded by wind and rain over the years, spiral vines... Through the passage of time, these elements exhibit traces of \"life\". Although life forms exhibit an infinite variety of expressions, their structure follows certain rules. Guided by these fundamental principles, variations can lead to the creation of more diverse architectural forms that are in line with construction techniques, thus allowing one to move beyond mere imitation of specific forms. For example, in Gaudí’s buildings, everything from the roofs to the floors, from the columns to the walls, and from the doors and windows to the handrails, vividly embodies the forms of life. 　　1.2.3 Using biomimetic structures in design There are numerous natural structures that are aesthetically pleasing; they represent the optimal ways of distributing forces and make the most efficient use of materials. These provide us with a starting point for our design efforts, enabling us to create architectural forms and spatial arrangements that have not been seen before. This represents an innovation in the variation or combination of conventional structures such as frames, shear walls, and trusses; it does not alter the principles of force distribution in the structure, thereby creating new architectural forms or spatial effects. 　　 　　2 Practical Exploration – Design of Chongqing Natural History Museum The Chongqing Natural History Museum is located in Beibei New City, backed by Jinyun Mountain and facing Jinyun Avenue; it boasts beautiful scenery and convenient transportation. After analyzing the site, we established the goals for the planning and design of the Natural History Museum: to seek a harmonious coexistence of humanity and nature, culture and technology, as well as reality and development, creating an environment that is both poetic and practical. 　　2.1 Earth landscapes imitating strata The main element of this landscape consists of three consecutive earth landscapes that mimic “strata”; they resemble undulating “waves” set against the distant mountains, making it difficult to tell which mountain is which... At the same time, the amplitude of the “stratified layers” gradually decreases, and they slowly disappear on the horizon, just like a series of notes fading away, expressing reverence and curiosity toward nature. (Figure 3) Each stratum represents the terrestrial landscape of different periods: the five differently colored, dynamically shaped grass slopes in the entrance plaza suggest that the universe was formed from five primary elements at its inception ； The sunken cobblestone pavement on the north side of the entrance plaza symbolizes the lifeless ocean sediments of the early Earth ； Immediately thereafter, the \"strata\" gradually rise, indicating continental uplift, the formation of mountains, and rivers flowing vigorously; ultimately, the view settles on a giant spiral-shaped DNA structure by the water’s edge, suggesting the birth of life, and everything comes to an end here. (Figure 4) Meanwhile, the strata from different periods exhibit representative fossil organisms, ranging from trilobites to dinosaurs, and from mosses to trees; this evolutionary progression of species from lower to higher forms, and from simpler to more complex structures, suggests the co-evolution of Earth and life. These landscapes are integrated into the urban fabric, forming connections with the surrounding environment; thus, they do not merely replicate the existing urban landscape, but rather actively explore new possibilities in an effort to bring vitality to the area in which they are located. 　　2.2 Spirochetes: Abstractions and Metaphors Derived from Forms of Life The concept behind architectural forms stems from the abstractions of “DNA” and “water”; these two elements represent the core of life as well as its carriers. They represent a reinterpreted and recombined version of nature, as well as an understanding and respect for it. 　　2.2.1 The spiral DNA metaphor for the origin of life We know that life is an important manifestation of nature, and the form and evolution of life are closely tied to genes. Inspired by “genes” (DNA), this design combines two sets of symmetrical spiral shapes representing genes, and by taking a segment from them, it creates the prototype of the design – the double helix shape. Meanwhile, the diameter of the spiral-shaped roofs was designed to be 80m, 60m, and 45m respectively, so that the edges of the roofs formed gentle, changing curves that matched the undulating natural landscape around them. (Figure 5) Here, the building has become part of the natural environment; its roof extends horizontally and vertically along the terrain, appearing and disappearing in the shade of the tall trees, adding a touch of romantic beauty to the pristine landscape. The architectural forms derived from genes express humanity’s reverence for nature and its courage to explore its mysteries; the entire building structure is elevated on a rocky base, and modern techniques are used to depict the traditional play of light and shadow, thereby fostering a dialogue between humans and the building. (Figure 6) 2.2.2 “Flowing” skin The shape of liquids offers us new insights: the properties of liquids can be applied in architecture. The museum’s façade, through its real or visually simulated water features, makes it appear like a flowing surface of water, blending in with the water surrounding the museum (Figure 7). At the same time, the \"flowing\" epidermis encloses the \"spiral-shaped genes,\" suggesting that the birth and evolution of life are inseparable from \"water.\" This sense of flow runs through the various exhibition halls via ramps, turning the building into an extension of its surrounding environment. (Figure 8) 2.2.3 “Breathable Roof” The Chongqing area has a hot summer and cold winter climate; therefore, making buildings suitable for this local climate is another challenge faced by this project. The design creates a “breathable roof” through interlocking panels. When the louvers are opened, the roof is filled with numerous gaps, through which excess heat is discharged. At the same time, ample sunlight helps to reduce energy consumption ； By adjusting the closing angle of the blinds, the indoor lighting can be optimized for display purposes, while also aiding in heat retention. (Figure 9) In terms of building materials for the design, local stone and wood were given priority, which not only helps to reduce costs but also better reflects the essence of the local culture. Use local materials and adapt to local conditions ； By utilizing technologies such as shading and rainwater recycling, it not only reflects the regional cultural characteristics of Chongqing but also integrates them into a dynamic harmony, reducing maintenance and operational costs. 　　 　　3 Conclusion The conceptual design of the Chongqing Natural History Museum draws inspiration from nature, offering new approaches for design. It represents a comprehensive return to natural principles, combining advanced development concepts with nature to create buildings that are ecologically harmonious, functionally comfortable, and made use of green technologies. Architectural creation based on natural forms reflects people’s desire for a harmonious coexistence of nature, cities, and architecture; it represents a return to respect and admiration for nature, as well as continuous reflection and innovation in human technology and art.