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In natural organisms, there are no metals in the form in which at least we know it, good conductors of heat and light, adaptable (with appropriate criteria and processes) to take any form we want. However, there are a lot of oxides and metal salts, starting with silica or silicon oxide, which forms for example frustuli of diatoms, and offers them the porous structure and perfection of photonics, which showed in a previous post, or calcium carbonate, which forms the bones of cuttlefish, for example, by providing them due to their columnar structure with cells more or less rectangular (but with helical symmetry internal) absolute imperviousness to water, and especially for the sea salt.

This is a general concept: all that is linear in nature, is actually born from the superimposition of axial symmetry, such as the external structure of the fibers of celery in the figure.

But the fact of working on metals, from the standpoint of the engineer, had an important consequence: the search for an ideal material, identified with the steel. Or rather: the belief that an ideal material, that is homogeneous and isotropic, quiindi that behaves the same way under all stresses (mechanical, thermal, electromagnetic) on every point, it 's the optimum it was possible achieve.

In truth, then we have seen that nature, but also the engineering had rather need to make the most of the anisotropy of the material because the stresses are only rarely uniform (not even the application of the weight is almost never uniform, for example, no one sits exactly occupying the entire session, no more and no less). E 'to get a fair degree of anisotropy, as required by the reality of things, that nature uses the cellular structures, gradually assembling.

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The ideal and natural materials and natural materials clinamen


Lucretius Carus wrote about two thousand years ago " id facit exiguum clinamen principiorum / region loci nec nec tempore certain degree," arguing that in practice a small variation, or variation, in nature, allows the very nature of "work." It 's like saying, essentially, that nature in designing moves to infinitesimal variations and tends to perfect: the famous phrase of the proverbial "Natura non facit saltus. And the uncertainty time and space does it mean, with our eye view of scholars of the materials that you can never be sure what the exact nature intended produce. In practice, nature works through endless variations of the same approximate shape. This teaches us that there are flaws, but rather infinite micro-changes of the same shape, that only our cultural restrictions are perceived as abnormal. We observe, for example, this micrograph that represents the sections of several fibers okra Bahn, a plant native to the Indian peninsula and the Middle East (Lady's finger in English): There are two fibers are exactly alike, and even there are two cells are exactly alike, But we can imagine che ci si muova per infinite approssimazioni. E' per questo che le strutture naturali si descrivono meglio con la teoria dei frattali che con la geometria euclidea, che invece si adatta perfettamente a quanto è stato progettato dall'uomo. Questo dipende dalla struttura gerarchica dei materiali naturali, dove la linea retta, base della teorizzazione di Euclide, è ottenuta soltanto approssimativamente per sovrapposizione e giustapposizione di strutture a spirale e quindi, in realtà, non esiste.