This paper provides an initial exploration of natural forms streamed into geometric patterns, providing a basis for further research that may find use in generative architectural design. The development of interest in geometric forms encountered in nature, and their implementation in design solutions, is expanding with the help of modern computer technology that has enabled the use of generative models. The biomimetic approach sets new standards in generative design. Through the form of the flower, which was singled out as an example, all the qualities derived from these connections, and the primarily aesthetic impression based on harmony and perfect proportions of elements, following the stability, strength and power of this form, can be clearly observed. Within the research, the study was based on the geometry of the flower species Ramonda nathaliae P. et P., an endemic species with restricted distribution in Serbia, by using parametric modelling methods and experimental designs displayed on the DVD (duplicate along curve) and the use of Voronoi diagrams.

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This research provides an exploration of a biomimetic approach in the process of designing a candelabra model using linear shaped leaves of a Bell flower. The design process described in this research contains two steps: biological and geometrical. In the first biological step, a proper model for the creation of an urban element was found from nature in a Bell flower (Campanula persicifolia L.). The upper leaves of the selected plant, which are small with a linear spear and sharpening at the top, were chosen for the modeling process. The second step included applying two geometrical methods, i.e., Voronoi diagrams and Delaunay triangulation. A geometrical leaf form of the selected plant species and the modeling process were obtained using aparametric modeling software, Blender. Using different Blender plug-ins and modifiers, Delaunay triangulation and Voronoi diagram were implemented by marking the starting points on the leaf form in the image data source, adjusting the Delaunay triangulation parameters, and creating Voronoi diagrams in which the Voronoi points were located at the shortest distance from the edges of the Voronoi polygon. Consequently, a three dimensional model of a candelabra was developed through this study.

This paper provides the basics for more detailed research on the structures of bionic forms of different plant species and their application in the domain of landscape planning. The aim of this type of research is to expand knowledge of landscape planning with a deeper understanding of different geometric relations present in the existing natural forms. The correlation between structures in nature and structures that are present in contemporary landscape architecture could be established by the congruence with the geometric models from landscape. This paper is focused solely on the geometry of natural forms. The Voronoi diagram was used in order to examine the similarities and to perform a comparative analysis of the Prunus domestica L. leaf geometry and the geometry of cultural landscapes of Central Serbia. The resulting Voronoi diagram shows the similarity based on closed fields, Voronoi cells, which correspond to the nervation of Prunus domestica L. leaf by form. Using the comparative analysis, the geometric interpretation of cultural landscape examples could be linked to the geometric structure of the most frequent fruit tree species

Many cities nowadays explore different circular designs as new sustainable city concepts in different urban aspects. The new trend, as part of the adaptation for climate change, is a strategy of increasing the number of urban open spaces, and circular plan design could be a sustainable approach to urban development. This paper provides a historical overview of various examples of circular objects containing built structures and open spaces from the Neolithic to the present. The Built-Up Area (BUA) and Open Space (OS) relationships are shown histogramically for 36 objects arranged chronologically. The morphospace analysis was performed to determine any possible regularity in the relationships of parts of circular objects. For the purpose of this research, three variables were chosen. First, all selected historical examples of circular objects were divided into two main categories: objects with a total diameter smaller than 300 m and objects with a total diameter bigger than 300 m. Additionally, the selected circular objects were divided by their type of open space to better understand their spatial position. The largest number of analyzed objects belongs to the Parks–Gardens category, followed by settlements, and then earth works, sacral objects and circular buildings, with the smallest number of circular objects being in the category of allotments and plazas. The second variable was Jam area and % of Jam. The buildings are of different sizes up to several hundred m2, and the areas range up to several hundred ha. The total area to OS ratio ranges from 0% (for Large Serdab) to 100% (for multiple objects). There is a similar situation with the diameter ratios (total and “jam”). Additionally, the final variable was the historical position of the selected circular objects. Circular objects belong to all historical periods from the Neolithic to the present. The aim of this research was to explore the relationship between OS and BUA in various circular objects with different diameters of open spaces and find out if there was any regularity in this relationship. The morphospace analysis of this research indicates that there is no clear regularity in the relationship between the built-up area and the open space, but the aspects and research results shown here contribute to sustainability since the circular design approach could play a key role in future circular design processes.