This section will lift the curtain over my laboratory. Here, like a medieval alchemist, I return to the same search of meaning, form and essence of things over and over again. I conduct various researches, which becomes a reliable foundation for my design.



Imagine how comfortable it would be to hold a set of standard three-dimensional models that allow the client to choose the most fancied. This would simplify the search of stylistic and morphogenetic solutions. I suggested that similarly to the polygraphic industry, which has numerical ratings that stand for concrete colors, like all measures of weight, length, time etc., has its own models, like chemistry with its table of elements, the three-dimensional design should have a table or a set of models that systemize and classify shape.

And if this is possible, designers get a powerful instrument to analyze the existing forms and to create new ones. Such a table could serve in research purposes and also it can simplify practical work. Everyone is familiar with the situation when the client cannot put his preferences into words or comes up with wrong examples. Being lost in translation can lead to a stop in the search and guide the process in the >

wrong direction. It is even more difficult for the designer to explain morphogenesis using sketches to people who lack spatial intelligence. Naturally, a maquette or a three-dimensional model can help in such situations. A lot of time will be needed for their creation and there is no time to lose for the search of understanding.

That’s why typographers offer their clients systematized numerical ratings when choosing color. It’s known that each person sees color in his own way. And that is only color! What about shape? Whilst working with three-dimensional objects many people reach a real catatonia.

The analysis of three-dimensional objects from subjective surroundings detected several groups with identical characteristics. I tried to formulate the general morphogenetic principles, on the basis of which I made twelve models.


I took the shape of an egg as a basis and defined it as number one. It is the most simple and widespread figure – revolutional shape, symmetry about the vertical centerline. v


There are complicated modifications v



The second is a biomorphic, almost unpredictable, “liquid” form. It creates a feeling of natural origin. v


The third shape is constructive; it’s a pixel form consisting of many identical modules. They create an object crossing and connecting to each other. v


The fourth is shell shaped. The surface is perforated with holes of different configurations. It can be an ornament or irregular holes. v


The fifth is specialized. It is created by the movement of the cross-section through a defined trajectory. v


The sixth shape is facetted. It can have gibbous / concave surfaces. v


The seventh shape is chaotically braded. It is created by random entwinement, from dense to nearly transparent. Chaos and order in one object. v


Complex objects can have several ingredients. Their effective combination makes the object special and leaves a pleasant impression.

It’s hard to say that my collection is finished and that it unites all morphogenetic principles. However, I succeeded in using these models in the discussions of briefs, I illustrate my thoughts with them and provide the shape of the object, that needs to be designed.