This paper explores the working hypothesis that fractal patterns that closely match those found in nature are more likely to convey a strong sense of genius loci to humans by comparison with ‘Euclidean’ patterns that do not occur in nature frequently. A part of this survey is concerned with showing the pattern-conscious thinking, regarding the façade composition and material textures, of historical buildings compared to different ecological or geological scenes. We also examine the background of pattern-design from architectural theory, and extrapolate the matter to certain questions about spatial quality, tectonics, and the phenomenon of place. Our most important concern is an attempt to enhance architectural arguments regarding place and character with mathematical calculations. We introduce ‘relief method’ as a possible way to capture the haptic nature of architecture beyond the patterns of its two-dimensional projections. Through this approach, façades are considered as reliefs and pictures at the same time, thus reflecting the tension between their materiality and visual representation. Fractal geometry also helps to understand how architectonic layers define scale, and by which means architecture could be translated into the human level of physical existence.

Kenneth Frampton's critical regionalist interpretation of the tectonic applies the 19 th century terms of Karl Bötticher and Gottfried Semper to evaluate its role in initiating the architectural resistance, where it seems to hold a position without further cognitive prospects. Redirecting architecture essentially to philosophy, tectonics stands rather as it is given by the language and the natural use of structures or materials: in a sacral ambiguity presenting the ontological break between the frame and the cladding of a building. The revision of the Greek origin of the term reveals a Latin root as an alternative, which sheds light on the double meaning of the tectonic inherent in the architectural manifestation of Martin Heidegger's fourfold comparable to the similar modalities of Semper as well as Christian Norberg-Schulz. Based on its poetic and ritual characteristic, contemporary sacred architecture provides significant examples for both the analysis and the understanding of the symbolic debate of immanence opening up in the spatial occupation of the human being.

No abstract

This study uses fractal analysis to measure the detailed intensity of well-known Classical and Renaissance façades. The study develops a method to understand their interrelated design principles more comprehensively. With this evaluation tool, one can observe intrinsic connections that support the historical continuity and point out balancing composition protocols, such as the ‘compensation rule’, that regulated design for centuries. The calculations offer mathematical constants to identify Classical and Renaissance details by plasticity rates. Finally, we base this method on spatial evaluation. Our calculations involves depth, which connects planar front views with the haptic reality of the façades’ tectonic layers. The article also discusses the cultural and urban implications of our results.

No abstract