Biomorphism

Joan  Miro,  known  for  her  surrealist  paintings,  produced  her works,  in  which  a  child  scribbled unconscious, shapes and lines randomly and without aesthetic concern. Much influenced by the subconscious and dreams, the artist has been seen as the first representative of automatism in the field of art. In Miro's works,the effects of the artist's past life can be traced. Some of the forms he used in his works are a mirror of the subconscious  reflection  of  nature  in  his  daily  life.  The  artist  reflected  the  subconscious  world  in  his  works, completely  eliminating  his  own  logic  and  external  perceptions.  The  biomorphism  seen  in  Miro's  works influenced many different art disciplines and artists, as well as surrealist artists.This research is a study of the biomorphic  forms  created  by  Joan  Miro  in  the  art  movement  of  surrealism  through  automatism  and subconscious method through the works of the artist. The works by Joan Miro are considered how the artist treats  biomorphic  forms  in  the  context  of  the  current  of  Surrealism  in  relation  to  automatism  and  the subconscious. Qualitative research method was used in the research and in this context, literature on the subject was examined, visual sources were examined and readings were made through biomorphic forms in the works of the artist. The data obtained were examined within the artmovement of surrealism.

Most architects believed that nature offered many countless ideas as a source of inspiration. They showed the overlapping between biology and architecture through the bio-morphism to illustrate its effect on the improving of the structural design creativity. This research was initiated with the objective of enhancing structure's creativity and efficiency by investigating bio-morphism to be utilized in the modern architectural applications by creating a more flexible, lightweight and durable so as high-performance architectural structures in terms of form, forces and material. The visual observations were attained to define the potential benefits of biological forms found in nature. The research findings indicated the possibility of integrating biomorphic design process into the structural design. Furthermore, the results designated how architects could design innovative structure after their requirements.

Semiotische Kernpunkte (Kap. 8)
1. Die Grundfunktion der Architektur ist die des Schutzes. Der abri oder Höhlen- eingang mag der Urtypus sein, der sich zu unterschiedlichen Kulturformen ent- faltet hat.
2. Geometrisch dominieren der Kubus/Kasten oder die Rundformen: Zylinder und Kegel. Es gibt signifikante Unterschiede zwischen Frontal- und Rückseite, zwi- schen Oben (Himmel) und Unten (Erde). Mit der Kuppel wird der Himmel ge- schlossen.
3. Rituelle/ liturgische oder politisch/ mediale Inszenierungen bestimmen die Fein- struktur des architektonischen Gebildes und prägen diesem eine kollektive Ge dächtnisstruktur auf. Gleichzeitig wird diese durch die Architektur sichtbar ge macht und damit gefestigt. Manche dieser Funktionen sind inzwischen in Innen räume (Museen) abgewandert oder werden durch Bildungsinstitutionen bedient.
4. Biomorphe Aspekte spielen sowohl im Plastischen (als Verweis auf den menschlichen Körper), als auch im Dekor (als pflanzliche Motive) eine wichtige Rolle. In der Moderne sind diese Aspekte tendenziell zugunsten einer rationalen Funktionalität zurückgesetzt worden.

Semiotische Kernpunkte (Kap. 9)
1. Die Entstehung der Stadt entfaltet die wahrnehmbaren Angebote (affordances) des Standortes, welche die Keime einer Morphogenese /Semiogenese bilden. Die ersten Entwicklungsschritte entsprechen einer Embryogenese (Zellteilung) mit Bifurkationen. Die langfristige Entwicklung setzt diese Morphogenese fort und spezifiziert sie bis hin zu den Straßen- und Hausformen.
2. Regionale und lokale Traditionen wirken stilbildend und können sich innerhalb größerer Netzwerke durch Nachahmung (Import von Mustern) ausbreiten.
3. Die Stadt bildet ein oder mehrere Zentren aus (z.B. ein sakrales und ein profanes), die sich weiter ausdifferenzieren. Diese sind die Hauptzeichenträger der Stadt.
4. Die zentralen Plätze und Gebäude sind die Bühne einer semiotischen Inszenie- rung, die dem Bürger und dem Besucher in visueller Form das Selbstverständnis der Stadt oder ihrer Institutionen mitteilt.
5. Architektonische Bildprogramme sind einerseits Dekor, andererseits dokumentieren sie das politische Selbstverständnis der Stadt (bzw. ihrer Eliten).

Il saggio tratta fondamentalmente di due questioni strettamente correlate: 1) il passaggio tra la dimensione plastica e quella figurativa nell'analisi semiotica dell'architettura considerata come forma di “rappresentazione”; 2) il fenomeno dello “esotismo” inteso come fase del processo di sussunzione di forme provenienti da culture altre entro una data sfera culturale. Il caso dell'antropomorfismo nell'architettura di Guarino Guarini – anche per il confronto con la letteratura autografa dell'autore – offre un caso assolutamente esemplare della distinzione tra le tecniche di deformazione plastica e quelle di invenzione figurativa, fornendo del tema una evidenza didattica.

By analysing the relationship between drawing and actual object, it is observed that the design of glass artefacts depends on the features of the material itself, on the processing techniques and their limits. More generally, therefore, we can say that form is the result of forces located inside the matter, as it also happens in the generation of a living organism. For this reason the discourse on the creation and graphic representation of these objects can be approached from the point of view of biomorphism, a feature that can be found in similar artefacts on several levels: from the figurativity of the glass animals to the almost abstract shape obtained from the self-organising matter through its intrinsic forces. It is precisely in the creations with a higher degree of abstraction that we observe the same “biomorphic” feature found in some of the major scientific and artistic studies since the 1950s, although the tradition of blown glass, with its particular processing techniques, is preserved.

This paper is an exploration of the ecopoetics of Basil Bunting’s Briggflatts (1966) within the context of current critical discussions on the relations between modernist abstract art and nature, with particular reference to the concept of biomorphism and its trajectory in English art history and criticism throughout the twentieth century. It also draws on Tim Ingold’s ideas concerning the interactions between the inscriptive practices of writing, drawing and painting, and the ways of imagining, seeing and inhabiting the world they entail on the part of viewers to show how Briggflatts shapes a biocentric worldview that binds the poem and the phenomenal world together in an ongoing movement of growth and transformation that is life itself.

The significance of design thinking is strongly influenced by design work circumstances. But nowadays many research fieldworks use design thinking process to solve problems. Design thinking is an epistemology process to understand how designers think. The knowledge of design thinking will help to develop teaching and learning process and will improve the qualities of educational experience and also enhancing the capabilities to learn for designers. Biomimicry study was highlighted when many solutions have been successfully implemented in various fields of work nowadays. Biomimicry has been formed by two different Greek root words which are 'bios' meant life and 'mimesis 'is imitate. Biomimicry is also known as one of multidisciplinary studies in sustainable development. Thus the significance of inspirations of nature design is becoming the foremost issue nowadays, when a lot of efforts have been researched to find the best way to understand about nature design. This is including a number of terminologies which have been created to classify the nature in the design area. This conceptual paper will involve the analysis of existing design thinking and understanding of basic terminologies in Biomimicry concepts. KJ method analysis is adopted by extracting keywords from literature review and brainstorming process and categorizes those keywords into respective groups to form a new conceptual framework. The practical implication of this concept paper is to determine the significance of design thinking process for Biomimicry concepts and application for design development.

The digitisation and cataloguing of the Seguso Vetri d'Arte archive-together with other archives of glass factories preserved in the Giorgio Cini Foundation in Venice-has led to the analysis not only of the documents themselves, but also of the relationships between them. What emerges is the particular design process that gives shape to glass. We refer to the process for which the material is responsible, rather than to the intervention of a designer. The role of the designer-in constant cooperation with the glassmaker-remains nonetheless influential, but there are particular constraints to take into account. The research analyses the process that leads to the creation of an artefact through drawings and, consequently, some features of the production of hand-blown glass artefacts in some of the most famous glass factories in Murano during the 20 th century, giving rise to considerations that are related both to artistic and scientific theories emerged in the same years.

Il saggio intende focalizzarsi sul valore della forma scultorea nell’opera di Alberto Meli, mettendo in evidenza la centralità dei contatti e delle esperienze internazionali dell’artista bergamasco. In particolare, l’incontro e la lunga frequentazione con Jean Arp e con altri artisti di levatura internazionale fra gli anni Cinquanta e gli anni Sessanta, spingono Meli verso la ricerca di forme astratte che tuttavia mantengono uno stretto rapporto con la dimensione organica della vita, con la sua metamorfica vitalità e il suo dinamismo. Le analisi di alcune opere realizzate dopo l’incontro con Jean Arp, come Cavallo, Toro nell’arena, Torso femminile, Lussuria, Maternità, Enigma, mostrano una matura capacità da parte dello scultore di far dialogare pieni e vuoti, torsioni e linee, disegnando forme dinamiche che riempiono e definiscono lo spazio. L’attenzione, anche teorica, dell’artista per il mistero della vita, indagato sia attraverso i risultati della scienza sia sulla base dei presupposti della fede religiosa, trova una soluzione formale che, anche negli esiti più astratti, mantiene una relazione molto stretta con i processi organici della natura.

Sebastian Irarràzaval explains his peculiar and idiosyncratic project as an adaptive response to the place and its conditions, hinting however to a more stratified ambiguity, a duplicity readable on many levels and already contained in the title of the project, as well as in the settlement solution that it captures with extreme synthesis.

By analysing the relationship between drawing and actual object, it is observed that the design of glass artefacts depends on the features of the material itself, on the processing techniques and their limits. More generally, therefore, we can say that form is the result of forces located inside the matter, as it also happens in the generation of a living organism.
For this reason the discourse on the creation and graphic representation of these objects can be approached from the point of view of biomorphism, a feature that can be found in
similar artefacts on several levels: from the figurativity of the glass animals to the almost abstract shape obtained from the self-organising matter through its intrinsic forces.
It is precisely in the creations with a higher degree of abstraction that we observe the same "biomorphic" feature found in some of the major scientific and artistic studies since the 1950s, although the tradition of blown glass, with its particular processing techniques, is preserved.

ISBN 978-88-99586-07-2

ERICH NEUMANN ON HENRY MOORE: PUBLIC SCULPTURE & THE COLLECTIVE UNCONSCIOUS BY TIM MARTIN
The psychoanalyst Erich Neumann applied Carl Jung’s concepts about the unconscious mind in his book on Moore’s sculpture, The Archetypal World of Henry Moore (1959), in which he described the artist’s imagination as essentially feminine. Although original and for a period influential, Neumann’s ideas about sculpture remain today largely unexamined. The psychoanalytically informed nature of many of the concepts we use today to discuss the aesthetics and function of sculpture can be traced back to early and mid-twentieth century critical debates that, inevitably given his stature, coalesced in some measure around the work of Henry Moore. From the 1930s to the 1980s his sculptures were the subject of discussion by a number of critics who, reflecting a widespread fascination with such matters, took an active interest in psychoanalysis and its application to art.
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