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Zeitschriften
Organization, Technology and Management in Construction: an International Journal
Band 9 (2017): Heft 1 (January 2017)
Uneingeschränkter Zugang
Recognition of the role of nature in the formation of fractal architecture
Seyedeh Somayeh Mirmoradi
Seyedeh Somayeh Mirmoradi
| 08. Sept. 2017
Organization, Technology and Management in Construction: an International Journal
Band 9 (2017): Heft 1 (January 2017)
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Article Category:
Research Article
Online veröffentlicht:
08. Sept. 2017
Seitenbereich:
1574 - 1583
Eingereicht:
15. Jan. 2017
Akzeptiert:
20. Mai 2017
DOI:
https://doi.org/10.1515/otmcj-2016-0020
Schlüsselwörter
chaos theory
,
fractal architecture
,
form
,
geometry
,
nature
© 2017 Seyedeh Somayeh Mirmoradi, published by Sciendo
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.
Fig. 1
Types of fractals: fractals generated with repetitive operations. According to Lorenz (2003), these fractals are based on the relationship between mathematics and nature, in which the basic form is duplicating due to change in scale and rotation.
Fig. 2
Strange attractor. An example of strange attractors, known as the “butterfly effect”, was given by Lorenz (2003).
Fig. 3
Self-similarity of fractal shapes in a general form of architecture – repeating a form at different scales (House 11a, designed by Peter Eisenman).
Fig. 4
Joe Price Workshop by Bruce Goff uses the triangle as a basic shape and repeats it at different scales and angles to form a general architectural plan.
Fig. 5
Galinsky School by Zvy Hecker uses the triangle as a basic shape and repeats it at different scales and angles to form a general architectural plan.
Fig. 6
Bavinger House, by Bruce Goff uses a general shape as strange attractor to show the general idea and organizes the whole plan around it.
Fig. 7
Opera Cardiff by Greg Lin and Claire (this type uses the formation process of fractal shapes, repeating and duplicating a basic form at different scales and angles as a general plan; Lorenz 2003).
Fig. 8
Ruby Wright House (the box-counting dimension is used to determine whether the scale changes can result in new information or the building information is decreasing while approaching; Lorenz 2003).
Fig. 9
Glass House of Mies van der Rohe (on getting closer to the building, fewer lines are visible. The information decreases by the changes in the scale; Lorenz 2003).