FRACTAL DESIGNSustainability Through Fra

An observation of the fractured
world through a fractured mind
FRACTAL
DESIGN
Sustainability through Fractal Architecture
SHOBITHA JACOB
A/2034/2008
SEC A
GUIDE: AR. RICHA AGARWAL
COORDINATOR:PROF.DR.RANJANA MITTAL
PROF JAYA KUMAR
Acknowledgement
Thus having chosen the topic relating to fractals, I knew it would be an exploratory study observing
that there weren’t a single book in our library dedicated to the subject, however the dissertation was
insightful and I would like to thank the following people for their vital support and help throughout
my study.
Ar. Richa Agggarwal - for patiently guiding me through the entire research work.
Ar. Akshay Srinagesh - for his views and opinions.
Pof: Manjiri Sharma - for her insight into the topic
Nikos Salingaros Sir - for his prompt response and crisp comments.
Dr Ranjana Mittal and Prof Jaya Kumar - for coordinating the program.
All my friends for listening and bearing me.
My parents for everything
1
Table of Contents
1. Introduction .................................................................................................................................. 8
1.1 Research Question ..................................................................................................................... 8
1.2 Need Identification .................................................................................................................... 8
1.3 The broad Scope ........................................................................................................................ 9
1.4 Limitations. .............................................................................................................................. 10
1.5 The Research methodology..................................................................................................... 10
2. Fractal Design ............................................................................................................................. 12
2.1 Concept of Fractals ............................................................................................................. 12
2.2. Formula for Fractal Dimension. ........................................................................................... 14
2.3. Comparison of Euclidean geometry and Fractal geometry ................................................ 15
2.4. Infinity as part of life.............................................................................................................. 16
3. Fractal Geometry in Architecture ............................................................................................... 17
3.1 The Ba-ila settlement of Southern Zambia ........................................................................... 17
3.2 New Delhi Master plan............................................................................................................ 18
3.3 Robie house by Frank Lloyd Wright ..................................................................................... 19
3.4 Antonio Gaudi Sangrada Familia .......................................................................................... 20
3.5 Kandariya Mahadeo Temple –Khajuraho ............................................................................ 20
3.6 Layering ................................................................................................................................... 21
2
4. Sustainability ................................................................................................................................ 23
4.1. Evolution of the Concept ....................................................................................................... 23
4.2. Sustainability and architecturee ........................................................................................... 24
4.3. Population growth and sustainability concerns: ................................................................. 24
5.4 Sustainability process implication ..................................................................................... 26
4.5 Features of sustainable system ............................................................................................ 26
4.6. Aesthetics of sustainable designs ........................................................................................... 27
5 Environmental Design .................................................................................................................... 28
5.1. History of environmental design ........................................................................................... 28
5.3. Environmentalism .................................................................................................................. 30
5.4. Regeneration ........................................................................................................................... 30
5.5 Life-Cycle Design: ............................................................................................................... 31
6. Sustainability and fractal architecture ........................................................................................ 32
6.1. Prototypes of sustainable design: ........................................................................................ 32
6.2. Spatial Planning and Human Scale ...................................................................................... 33
6.3 Kandariya Mahadeo Khajuraho ............................................................................................ 36
6.4 Understanding a settlement pattern ...................................................................................... 38
7. Analysis........................................................................................................................................... 42
6. Conclusion ...................................................................................................................................... 44
8. Bibliography................................................................................................................................... 46
3
List of Figures
Figure 1: The formation of the Sierpinski gasket
Wikipedia. (2009 May). Retrieved July 16, 2011, from www.wikipedia.org:
http://en.wikipedia.org/wiki/Sierpinski_triangle
Figure 2: Introducing Randomness

Micheal McGuire (1990, January 12), An Eye For Fractals- A Graphic Photographic Essay, Addison
Wesly L.
Figure 3: Formation of Peano curve

Wikipedia. (2009 May). Retrieved July 16, 2011, from www.wikipedia.org:
http://en.wikipedia.org/wiki/Peano_form
Figure 4: Comparing Julia sets to a site on Earth

Julia set generated from UltraFractal and Images from Google Earth Retrieved on July 14, 2011
Figure 5: Ba-ila settlement model which is in Southern Zambia

Eglash R and Odumosu. T. (2005). Fractals,Complexity and Connectivity in Africa. Monza, Italy,
Polimetica International Scientific Publisher , p. 103-104
Figure 6: Fractal generation of Ba-ila simulation. First is similar to single house, (Eglash R)
second is similar to family ring, third to village as whole.
Eglash R and Odumosu. T. (2005). Fractals,Complexity and Connectivity in Africa. Monza, Italy,
Polimetica International Scientific Publisher , p. 103-104
Figure 7: New Delhi Master plan

Apoorva. (2007). Lutyens Delhi. Delhi: Unpublished Report
Fig 8: The Hexagram Plan

Apoorva. (2007). Lutyens Delhi. Delhi: Unpublished Report
4
Figure 9: The Fractal Dimension of The Robie house

Bovil, C. (1996). Fractal Geometry in Architecture and Design. Birkhauser: Design Science
Collection. p. 57
Figure 10: Temple del la Sagrada Familia (Designed by architect Antoni Gaudi) Barcelona, Spain
Wikipedia. (n.d.). Retrieved July 16, 2011, from www.wikipedia.org:
http://en.wikipedia.org/wiki/Sagrada_Familia
Figure 11: Front Elevation of the Sagrada Familia, Spain

Figure 12: Nativity Façade of the Sagrada Familia, Spain

Figure 13: The Evangelists on the Nativity Façade of the Sagrada Familia, Spain
Figure 14: The Kendariya Mahadeo Temple

Bhargava D R (July 2001): Dissertation, Tulsi Vidya Bharti School of Habitat Studies, New Delhi,
p. 28
Figure 15: Pollock’s house on Long Island. Trees are an example of a natural fractal object.
Although the patterns observed at different magnifications do not repeat exactly, analysis shows
them to have the same statistical qualities
Taylor, R., Micolich, A., & Jonas, D. (1999, June 1). Fractal Expressionism. Physics World,Volume
12, Issue 10 .
5
Figure 16: A comparison of (top) the black base layer and (bottom) the complete pattern consisting
of four layers (black, brown, white and grey on a beige canvas) for the painting 'Autumn Rhythm:
Number 30' (2.66m by 5.30m) painted in 1950. The complete pattern occupies 47% of the canvas
surface area. The base layer occupies 32%.
Taylor, R., Micolich, A., & Jonas, D. (1999, June 1). Fractal Expressionism. Physics World,Volume
12, Issue 10 .
Figure 17: The further developed illustration of an epochal /cultural shift into an era of sustainable
development.
San Louis Sustainability Group, Haggard and cooper,(2006), Fractal Architecture- Design for
Sustainability. California: BookSurge Publishing. p. 11
Figure 18: Linear plot of history of human population

Edward S. Deevey, “Human Population” , Scientific American (September 1960), p. 194-204
Figure 19: Fractal view of history of human population

Figure 20: The four eras of the human population

Figure 21: The four phases in a Cultural Era

The chart was published in Edward S. Deevey, “Human Population” , Scientific American
(September 1960), p. 194-204
Figure 22: Theoretical model derivation – far left: Ebenezer Howard’s garden city (Wikipedia
2009), middle: Christaller’s model (Czerkauer 2007), far right: Frankhauser’s fractal model
(Frankhauser et al 2007) Czerkaver C& Frankhauser P (2006, May): A Multi-Scale (Multi-Fractal)
Approach for a Systemic Planning Strategy from a Regional to an
Architectural Scale.. Issue 13, Vienna, p. 21
6
Figure 23: Christaller’s net of central places including traffic infrastructure (Christaller 1933, reprint
1980) Czerkaver C& Frankhauser P (2006, May): A Multi-Scale (Multi-Fractal) Approach for a
Systemic Planning Strategy from a Regional to an
Architectural Scale.. Issue 13, Vienna, p. 19
Figure 24: The rising, fractal-like shikharas of Kandariya temple in Khajuraho. Drawing from Stella
Kramrisch's book, The Hindu Temple
Figure 25: Line drawing of the Kandariya temple in Khajuraho. Source : Drawing from Stella
Kramrisch's book, The Hindu Temple
Figure 26: Line drawing of the subdivision of the shikharas of Kandariya temple in Khajuraho.
Source : Drawing from Stella Kramrisch's book, The Hindu Temple
Figure27: Plan of Vypin

Source: Self rendered
Figure 28: The paddy fields

Source Author
Figure 29: Illustration of the different scales This approach called th fractal scan is used here to
zoom into different levels of the area concerned.
Zoom 1 is a self-rendering to depict Kerala in the Indian subcontinent, zoom 2 the map of cochin
city obtained from GCDA (greater Cochin Dev. Authority), zoom 3 the concerned area, zoom 4 is a
schematic model of the settlement pattern, zoom 5 a typical architecture ‘naalukettu’ and so on.
Figure 30: the central road

Source author
Figure 31: A temple complex

Source author
7
1. Introduction
Fractals have intrigued us, let our brains and souls enter a new realm, a realm where the idea of scale
is new and challenging. The concept of fractals has brought about exciting and revolutionary
paradigm changes deepening and broadening our understanding about nature, culture, science and of
space-time.
Sustainability is any endeavor looking at three dimensions- social ,economic and environmental.
Architecture fulfills some of the basic human needs namely aesthetics, functionality and
sustainability. Fractal architecture with its unique feature of organic assemblage of units is better
endowed to answer questions of sustainability than many other form of architecture. The fractal
theme serves as a framework or reference for organizing an intellectual and aesthetic presentation in
order to present the reality that ‘everything in the universe (nature) is connected to everything else.’
1.1 Research Question
Does the knowledge of fractal geometry help in achieving sustainable designs?
1.2 Need Identification
Centuries ago the German philosopher Emmanuel Kant proposed an infinite model based on natural
philosophy arguments. Since the concept of fractal explains nature where sustainability is a current
concern and culture were anthropocentric developments impact nature, this review throws light on
the efforts of naturalists, architects and thinkers over decades.
There have been several architectural movements, with newer concepts evolving and inspiring, there
is a need to understand this emerging one, one that has startled other sciences as well.
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The chosen topic is a realization of the natural world expressed mathematically and has tried to grasp
a few qualities that characterize it. This is in hope that the study would help improve the design
process.
1.3 The broad Scope
The intentional application of fractal theory in architecture is a new concept; however there are full-
fledged studies and conclusions drawn from theories and ideas.
This dissertation contains three sections:
Firstly, understanding fundamentals of fractal architecture, its relevance and how it has captured
several minds. The concept of fractals in architecture is established using a few examples.
Secondly, on sustainability and its importance and how the present era is working towards achieving
an environment that concentrates on information and sustainability. Here sustainability is from the
fractal point of view that which is holistic and diverse.
Finally, exploring the links between the two which will be understood from the various observations
and case studies. The factors that influence these ideas will be dealt at a basic understanding level.
sustainability and
fractal geometry fractals
fractal geometry sustainablity
in architecture
...a delusion?
9
1.4 Limitations.
The study would not delve into the direct application of fractal geometry using formalisms in built
form however basic methodologies may be employed.
This dissertation will only touch upon the application of fractal theory on the complex layers in a
built form.
Since the chosen topic is one that is mostly conceptual there is a scarcity of practicing architects or
buildings built on these terms.
1.5 The Research methodology

1. A basic understanding of the fundamentals of fractal theory.
2. Discuss how the knowledge of fractals have contributed to architecture.
3. Understanding sustainability and how it is evolving from the fractal point of view.
4. Expressing the evolving links between fractal architecture and sustainability through
observations and case studies.
Pictures, diagrams and graphs are given a lot importance for symbols, icons and abstract
thoughts are integral for communicating these ideas and also because sustainability and
fractal geometry involve process and relationship.
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Fractals
A guide…
The term fractals comes from the Latin word ‘fractus’ which
means ‘broken’ or ‘irregular’ or ‘unsmooth’.
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2. Fractal Design
2.1 Concept of Fractals

“Broadly speaking, mathematical and natural fractals are shapes whose roughness and fragmentation
neither tend to vanish or fluctuate up and down, but remain essentially unchanged as one zooms in
and examination is refined. Hence the structure of every piece holds the key to the whole structure.”
(Mandelbrot, 1989)
Fractal from a triangle,
1 2 3 4 5
Iterate forever!
Fig 1: The formation of the Sierpinski gasket

Source: McGuire
Randomness can be introduced into this formation. In An Eye for Fractals, Michael McGuire
illustrates this by randomly picking a point on sides of the triangle instead of the mid-point as
observed above. After only eight iterations, a mountainside with rugged rock outcrops can be
observed.
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1st Iteration 2nd Iteration 3rd iteration
After only 8 iterations the mountainside becomes visible.
Fig 2: Introducing Randomness

Source: McGuire, 1998
It was nearly impossible to measure the shape of a cloud or a mountain, until Benoit Mandelbrot in
his studies showed that it was a simple iteration of a particular form that produced these natural
shapes. These shapes were ultimately algorithms.
Euclidean geometry is based on the one dimension line, two dimension plane, three dimensional
volume.
On the other hand, in fractal geometry the dimension is relative , it is more concerned with the form
generation/iteration.(McGuire ,1998, p. 61)
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2.2. Formula for Fractal Dimension.

Let us consider a Peano curve,
One of the classic fractal curves developed by Giuseppe Peano in 1890.
The basic Peano curve starts a line segment as an initiator (dimension being n); then uses the curve
to the right as a generator. Here each line is divided into three equal parts (of dimension n/3) and the
piece in the middle gets a feedback of a set of six new lines of the same dimension (n/3). So in the
beginning if a line is divided into three equal parts, after iteration and feedback it will become a
plane with nine equal parts. What you get, by applying it in successive iterations is what is shown
below - the gaps inside the squares getting smaller with each iteration, until in the limit, they
disappear entirely. Using appropriate formalisms, one can easily show that every point in the square
is part of the Peano curve.
A line of
Length n
Fig3: Formation of Peano curve

Source: Wikipedia, 2010
The formula for determining the fractal dimension of an object constructed by iteration and
feedback.
It is D = log N/loge D = Dimension

Dimension of the object = log ( No. of pieces
produced at each iteration)/log (magnification N = No. of pieces at each iteration
needed to get back to the original object)
e = Magnification needed to get back to
the original object
Therefor for
The line with length n D=log 3/log 3 = 1 (One dimensional line)
First iteration D=log 9/log 3 = 2 (Two dimensional plane)
For Sierpinski gasket D= Log 3/log 2 = 1.58
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2.3. Comparison of Euclidean geometry and Fractal geometry

Euclidean geometry and fractal geometry are not conflicting rather complimenting. That is fractal
geometry was able to clear several confusing theories that Euclidean geometry could not thereby
filling the gaps in it (Haggard and Cooper, 2006, p. 56)
ABOUT Basic assumptions behind Euclidean Basic assumptions behind fractal

geometry (200 years old) geometry (20 years old)
1. Description The main concern is the description of human There is holistic reality, infinitely
–made objects. Natural objects are assumed to complex but geometrically describe-
be difficult to describe or indescribable by able which we call nature
geometry
2. Form Simple rules give simple forms. Complex Infinitely complex forms are easy to
forms require complex rules; therefore generate by simple means. Complexity
simplicity is a virtue is an accessible to us. Simplicity can be
a virtue, but can also be simplistic.
Complexity is our biological heritage.
3. Form Formulae are the generator of form Iteration and feedback are the
generation generator of form
4. Randomness Randomness has no place in geometry Randomness can be part of the form
generating process
5.Dimension There are three whole numbered dimensions There are an infinite number of
dimensions that can fill the gaps
between one, two and three dimensions
6. Infinity Infinity is not dealt with in geometry Infinity is an everyday quality and part
of geometry.
7.Length Length is fixed sand measurable Length is often infinite
8.Scale Scale is the relative size of objects to Scale is where we choose to focus our
ourselves, other objects, or systems of attention in an infinity of choices of
measurement scales.
9.Order Order is predictable and desirable .Disorder is Order can be very complex; Order and
unpredictable and undesirable perceived disorder are not discrete
things but often aspects of the same
thing.
10.Reality Reality is dualistic with order and disorder in Reality is complex, diverse and
opposition to each other. holistic. Duality between order and
disorder is sometimes a useful tool,
often an illusion and sometimes
delusion.
11.Harmony Harmony can be achieved by simplification. Harmony can be achieved by
complexity.
12.Order & Control is an essential part of aesthetics. Dancing with chaos is an essential part
dynamics of aesthetics.
13.Symmetry Symmetry and asymmetry are important Self –Similarity and affine similarity
aesthetic devices. are also important aesthetic devices.
14.Form expression Geometrical solids are the basic building Fluidity is an essential part of
blocks of aesthetics because it deals with aesthetics because it deals with
differentiation connectivity and process.
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2.4. Infinity as part of life

It is possible to play with infinity on your laptops with a fractal geometry program or a deep
observation of the waves on seashore. Fractal geometry has a holistic approach and we design and
built in an environment that is complex and largely fractal.
Zoom 3
Zoom 1
Zoom 2
Zoom 2
(Kochi)
Zoom 4
Zoom 1
(Kerala)
Zoom 3
(Vypin)
Fig 4: Comparing Julia sets to a site on Earth

Source: Julia set generated from UltraFractal
Zoom 4
and Images from Google Earth (Fields)
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3. Fractal Geometry in Architecture

Inspired from nature we began building, reshaping the world making it work the way we want. The
living and non-living, simple and complex everything is in harmony. As we shall see fractals appear
in architecture for reasons other than mimicking patterns in nature.
3.1 The Ba-ila settlement of Southern Zambia
One of the best examples would be this

sub-Saharan settlement based on cattle
husbandry. It consists of ‘Kraals’ for
protecting livestock at night, houses and
storage structure.
The image is an extended family’s homes;
a ring shaped livestock pen, with a gate on
one end. Each unit is similar growing
progressively from the gate. Diametrically
Fig5: Ba-ila settlement model
Source:.Fractals,Complexity and Connectivity in Africa by opposite the gate is the largest of the unit,
Eglash R and Odumosu. T. p. 103-104
which is the Chief’s house, situated
entirely inside the ring. At the back of each
house is the alter again entirely inside the
ring. This clearly depicts the status gradient
with the ring structure. “K-Kulela” (to
nurse, to cherish) is how the relation of the
Chief of the class is described.
Important areas are to the west, facing the
rising sun. Gradation of wealth is
expressed in the size of the extended
family.
Fig 6: Schematic model

Source:.Fractals,Complexity and Connectivity in Africa
by Eglash R and Odumosu. T. p. 103-104
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3.2 New Delhi Master plan

Delhi, India a landlocked city had been
the capital of British India since 1911.
Being the capital city many buildings
were designed by the British outside the
old original city of Delhi that was
centered around Red fort and Juma
Masjid.
Edwin Landseer Lutyens, town planning
specialist opted for the Hexagram Plan
and its translation on site. Two main axes
were planned namely the Rajpat and
Janpath.
The best possible solution was the sub-
division of the main axis by four large
Fig 7: New Delhi Master plan buildings.

Source: www.wikipedia.org
• The oriental institute

• The museum
• The library
• The records office.
It is to be noted that this form of networking was found in the engravings

and jaali patterns of Mughal architecture from a very long time.
They formed the centers of intellectual interests and are the iconic
structures of deep metaphoric potential.
Fig 8: Generation of the Hexagram

Plan from the two main axes.
Source: Apoorva, (Lutyen’s Delhi)
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3.3 Robie house by Frank Lloyd Wright
The buildings he designed were

organic and appealing. The
Robie house is a good example
of his “prairie style”.
From the "Fractal Geometry in

Architecture and Design" the
fractal Dimension of the Robie
house by Frank Lloyd Wright is
shown below.
Fig 9: The Robie house

Source: Fractal Geoetry in Architecture and Design.
D (32 to 64) = [log (380)-log (140)] = 1.441
[log(64) - log (32)]
Computer generated mesh overlaid

on the elevation
19
3.4 Antonio Gaudi Sangrada Familia

Sangrada Familia 1882- (consecrated 2010), Barcelona, Spain
"Those who look for the laws of Nature as a support for their new works collaborate with the
Creator."
~ Antonio Gaudi, on why he was inspired by nature
Sangrada Familia is said to perfectly combine Gaudi’s penchant for Gothic and Catalan architecture,
and curvilinear Art Nouveau shapes. Symbolism reflects in every aspect of the building.
If allowed two phrases to describe Gaudi’s work, it would be ‘art nouveau’ and ‘organic’.
From Barcelona to the cathedral to the spires to the entrance to the evangelists; the detail is striking.
The Fractal Dimension being 1.698
Fig 10: Sangrada Familia Fig 13: The Evangelists
Fig11: Front Elevation Fig 12: Nativity façade (2010)

Images source: www.wikipedia .org
3.5 Kandariya Mahadeo Temple –Khajuraho

From mountains came forth the place of
worship embracing the skies. The façade
creates vibrating repetition almost like
geological strata, appropriate to the Hindu
Mythology. It creates a rich assymetrical
harmony, while contrasting vertical and
horizontal components.
Fractured surface of the Hindu temple. Fractal
dimension 1.762.
Fig 14: The Kendariya Mahadeo Temple
Source: Bhargava D R (2001 July)
Dissertation,
20
3.6 Layering
Fractal patterns are built up over time. Fractal in nature show statistical
self-similarity (SSS) rather than exact self-similarity (ESS) that is; under
different levels of magnification the object may reveal different patterns
which can be described by similar statistics.
Fig 15: Pollock’s house on Long Island. Trees are an example of a

natural fractal object. Although the patterns observed at different
magnifications do not repeat exactly, analysis shows them to have the
same statistical qualities
Building up any space requires the layering of various elements(may or may not be similar) at
various points in time to constitute the whole structure. The surfaces formed with a high degree of
layering encodes organized complexity.
Similarly cities are made of several layers making it a very complex dynamic system within a
system and so on.
For example, Pollock's paintings have been interpreted in terms of their fractal properties by Taylor
and his team in the year
In his painting each pigment is deposited at various stages at

particular time in the entire process of making it.
Taylor and his team fragmented the painting to various layers
each with a particular colour and the fractal content was found
out. Fractal content is expressed by the fractal dimension
discussed earlier in section 1.2.
Composition with pouring II 1.0

Autumn rhythm 1.67
Blue poles 1.72
Number 14 1.45
We find the fractal dimensions are quite similar. Since each of
the fractal pattern is used the build up the entire painting the
resulting fractal dimension would be higher.
 Complex surfaces can be fragmented to discrete layers

 Each layer contributes to building up the fractal content
of the overall composition
 The base layer commands the rest of the composition
Fig 16: A comparison of (top) the black base layer and (bottom) the
complete pattern consisting of four layers (black, brown, white and
grey on a beige canvas) for the painting 'Autumn Rhythm: Number 30'
(2.66m by 5.30m) painted in 1950. The complete pattern occupies
47% of the canvas surface area. The base layer occupies 32%.
21
Sustainability
“When we try to pick any one thing out of the universe we find it attached to everything else”
Muir John (1911)
22
4. Sustainability
The universally accepted definition of sustainability is given by UN as “ the ability to meet the
needs of the present without compromising the needs of future generations”
Environment Dept Social Dept
SUSTAINABILITY
Economic Dept.
The economic needs of the present population are important and hence the natural resources are to
be harnessed and utilized to meet all the needs of the present population. However while meeting
the needs, the needs of our children and their children and successive generations is to be equally
considered, this consideration of the needs of the future generation is expected to put constraints,
moderation and balance in using exploiting nature and its resources. Which is broadly a concern
for the environment. Thus sustainable development is the meeting of the social, economic and
environmental considerations in a harmonious way.
4.1. Evolution of the Concept

The industrial revolution of the Europe lead to massive exploitation of natural resources even in
faraway places for the economic benefit of smaller number of people. The environment which is a
common heritage, an asset for all the generation to come suffered from the plundering . There
were local people movements, Civil society movements evolving into conventions and resolutions at
the UN level. To have environmental considerations in all economic development activity. UN
appointed a commission headed by Mr. Brundtland. and he has formally defined the term
sustainability and from nineties, the era of sustainability and information formally come to being.
The term “Sustainability’ can be understood variously, such as:

 Sustainability refers to a process or state that can be maintained indefinitely
 Natural resources must be used in ways that do not create ecological debts by overexploiting the
carrying and productive capacity of the earth.
 A minimum necessary condition for sustainability is the maintenance of the total natural capital
stock at or above the current level.
23
4.2. Sustainability and architecturee
S Planning Human activity Newer holistic Epochal/

U for future integrated with natural systems and cultural
S generations processes and designs shift
T environment
A
I
N Human activity
Reconnect to Proactive response
Utilize longer range to social, economic Era of information
A considerations natural process Holistic diverse
and environmental and sustainability
B opportunities
Fractal evolutionary
I
L
I Miniaturization
Low
Better Evolution of a
T standard of Life cycle
Permaculture embodied culture
Healthier energy
Y behavior living Redefinition planning
building
defined by
information
Post suburban of waste Transportation
Holistic Context and
planning diversification Regeneration sustainability
approach specific
Fig 17: The further developed illustration of an epochal /cultural shift into an era of sustainable development.
Source: After San Louis Sustainability Group
Sustainability is both simple and complex such that a single definition is insufficient. It is a
perception that a sustainable environment promotes the idea of less with less but in the long run we
can achieve what is more with more like in the industrial era. Architecture plays a vital role here and
it becomes a social obligation for the architect to tread carefully.
4.3. Population growth and sustainability concerns:

During the industrial revolution era man tried to over differentiate from nature which lead to the
dominant mindset of subjugating, controlling and exploiting the nature exclusively for human
benefits which was considered a destructive phase in human evolution. Technological advancement
and efficient industrial way of production lead to exponential population growth. This lead to low
per capita resource availability, low – per capita production, higher ecological footprint in nations
aiming at high quality of life.
The mindset of man placed above and in a controlling position in nature and the population
pressure leading to large scale destruction of nature; set the stage for regenerative thoughts.
The regenerative phase again began to consider man as an essential part of nature and thus
population explosion as a state of out of control.
24
Log population
Population
Time log time

Fig 18: Linear plot of history of Fig 19: Fractal view of history of
human population human population
Source: Robert R (1994) Source: Robert R (1994)
Fig 20: The four eras of the human population

Source: Robert R (1994)
Robert R (1994) developed the above log chart for human population growth with the three eras
from ‘hunting and gathering’ to ‘agriculture and husbandry’ to the present ‘science and industrial’ to
the coming ‘information and sustainability’ era.
In sustainability, the four concerns are, place of humans in nature, human population growth,
achieving environmental balance and anthropogenic use of resources.
Out of these four human population growth still evokes anxiety for sustainability since most of the
nations in the world lies in the pre and semi industrial world and is not at the same phase of
development (end of era three and beginning of a new fourth era).
In era two cultures; large families are desirable and generally necessary due to high infant mortality
rates, the need for many hands to help farm and for assurance of care in old age.
In era two countries; the architects were constrained to design mass low-court housing projects and
designs of structures aimed primarily at carrying more people functionally with less emphasis on
aesthetics and considerations of environmental impact.
25
4.4 Sustainability process implication

In the era of sustainability and social health the architectural processes are likely to be
miniaturization, optimization, efficiency enhancement, minimizing wastage, energy conservation,
integration of man by nature.
4.5 Features of sustainable system

The four important characteristics of design in a sustainable system is given in the illustration below
(Haggard and Cooper, 2006, p. 34)
HOLISTIC
Because they consist of interconnecting systems at multiple scales
THUS: All resources and energy flows are recognized to be cyclic.

AND: Decisions regarding sustainability are best made at the smallest scale which
physically contains the system being most affected by the decision.
DIVERSE
Because in ecological systems, diversity is the generator of health.
THUS : Decisions should enhance biological, cultural and economic

AND: Decisions at one scale should not diminish diversity at other scales
FRACTAL:
Because the processes and forms involved are self –similar at many scales
THUS :Decisions should enhance self-similar patterns across the widest range of scales
AND: Aesthetics is recognized as feedback to the observer about the wholeness,
diversity and health of these systems.
EVOLUTIONARY
Because through iteration and feedback they create diversity & efficiency
THUS: Democracy, the political system for diversified decision making via iteration
and feedback, should operate at the smallest and largest scales
AND: Allows for the greatest efficiency when the smallest range of scale provides
resources and energy flows for a particular cycle in this holistic entity.
26
4.6. Aesthetics of sustainable designs
Aesthetics is described philosophically by Plato and Tolstoy in two different ways
Plato: Aesthetics is a mere imitation of Tolstoy: Aesthetics is a heartfelt social

perfection that can only exist in the mind. celebration, such as found in a peasant
Therefore, artists are doomed to frustration wedding. Cultural participation is the key and
and anguish. Ideally, the most fit to rule are the source of joy on the part of the artist who
philosophers, because thinking, not art, is the is honestly involved and connected. Art is not
highest human activity. an artifact, but honest emotion
The three basic design elements of harmony, proportion and scale are applied to space, volume,
function, structure and material, constructing composition having the characteristics of sequence,
rhythm, order & form.
Such a composition will have feeling, theme, clarity and synergy.
Thus in addition to the three basic elements, additional elements of sequence, rhythm, order and
form are essential basis of aesthetics of sustainable design.
Aesthetics of sustainable design is life oriented, integrative and focusing on process in design.
Baring on newer scientific concepts that are emergent in character such as ecology, ethnology and
complexity (Robert Laughlin, 2005)
Aesthetics provides feedback regarding the health of an evolutionary system. Similarly, images can
become symbols. Symbols express emotional reality and are not literally descriptive. They can be
extraordinarily powerful means of cultural communication.
27
5 Environmental Design
It is the process of addressing surrounding environmental parameters when devising plans,
programs, policies, buildings or products.
5.1. History of environmental design

History helps one to understand the focus of environmental design and inspiration for it in different
periods. A study of history also may throw light on where one is heading on a trend analysis.
When we view time in a fractal manner history can be examined as a set of self-similar pattern at
different time scales.
Edword.S.Deevey, (1960) Plotting worldwide population levels with time on a logarithmic scale
observed emergence of self-similar patterns at different time scales. R.W. Kates (1994) showed how
environmental feed back from the use of resources affected cultural eras.
The basic relationship between population resources and environment is shown in the illustration
below.
Formative: In the beginning of history, large quantities of resources and energy were available to a
relatively smaller size of the population. In such a period designs were developed by trial and error
methods to meet the desires of people by culture and value without any concern for energy on
resource use efficiency.
Classic: When population design techniques are formalized. And such formalization of designs
makes them static. The increased population puts pressure on resources.
For sustainability, design efforts are forced to moderate the pressures on the environment.
Techniques for obtaining energy and resources are fixed into relatively static pattern during this
classic period of design.
Stress: The next period is a period of stress as a decadent phase called by anthropologist.
28
Jared Diamond (2005) proposed that if enough stress occurs the whole system will collapse on will
and be replaced by a new system.
Edward .S.Deevey plotted four phases in an as shown below.
Stress
1.worldwide view Classic
Florescence
Formative
2. At a smaller scale
Fig 21: The four phases 3.At a smaller scale and on and on
Source: Deevey, 2005, p. 194-204
Social transformations as a result of many complex factors had strongly affected environmental
design, since aesthetics and symbolism are integral to the cultural condition of the time.
New design requirements of a place become imperative due to social change and modified
perceptions about reality.
29
5.3. Environmentalism
Environmentalism is an attempt to balance relations between humanity and their broader organismic
bio –chemical milieu in such a way that all the components are accorded a proper degree of respect
nature of this balance is controversial and there are many different ways for environmental concerns
to be expressed in practice. Environmentalism claims that living things other than humans and the
natural environment as a whole are deserving consideration and calls for a reassessment of
humanities relationship with nature.
John Tillman Lyle (1996) Describes environmental design as either part of degenerative process
that degrade the environment or part of a regenerative process that helps maintain the environment .
Since era two and era three was mostly degenerative environmental design periods the present time
calls for designs to regenerate degraded environments and landscapes, while simultaneously
providing for human activities and needs.
5.4. Regeneration
Regeneration of urban framework is necessary and requires the collective approach of several
individuals at various levels and this can be achieved only through visual representation of these
issues. Protection and continuity are the main goals of this process.
Virtual Regeneration - Interactive software’s capturing issues of a city like pollution level, surface
and ground water profile, sewage-drainage system, bio –diversity, ecotones, energy flow, habitat-
patches, ecological disturbances like floods, fires, sea intrusion, fragmentation of landscapes,
exurban areas help bring about a forum for virtual discussion thus people, environment and the
economic needs of different stakeholders are highlighted for a possible integrative harmonious
regenerative design. (Batty and Doyle ,1998)
30
4.5 Life-Cycle Design:

Sustainable design is based on the fact that we can affect planetary ecology for the better. Life cycle
and regenerative design are important techniques for making this happen.
Until Era three the architecture that was mainly prevalent did not assume a wholistic nature that
which looks into the processes and its implication (just like iteration and feedback). Here is when the
concept of life-cycle design comes. The concept is quite simple, but the result is revolutionary. Basic
reason being there is a merger of economy and ecology.
McDonough and Braungart developed a design tool to help achieve triple bottom line accounting for
life-cycle design. It is based on our old fractal friend the Sierpinski gasket (See page 1). Each point
of the triangle is one of the triple bottom line elements, and points between each illustrate the
different combinations of points on each side. Being a fractal, there are infinite combinations
possible, just as in human social behaviour.
31
6. Sustainability and fractal architecture
Complexity is an integral part of aesthetics and it reflects the surrounding that is the place, and
aesthetics is a part of cultural dynamics.
Sustainable design should become a cure for the diseases caused by thoughtless human activity not
by differentiation but integration considering the fact that each place is unique yet connected to a
harmonious and dynamic whole. Changing perspectives in geometric framework is mandatory for a
shift from industrial culture to one that aims at sustainable designs.
In fractal geometry each formation is new and surprising and none are unattractive, this is simply
because fractals are like natural objects which are universally beautiful. Likewise architecture should
be able to extract the essence of fractal geometry which encourages adapting to the context and time.
(See image 4 for infinite complexity)
6.1. Prototypes of sustainable design:
Haggard & Cooper, (2006) proposes a cultural framework having the following antecedent attitude
as prototypes of sustainable design.
1. Reality is a unity that has infinite variety
2. We should have “Scalar integrity” where parts affect the whole and vice versa
3. Harmony between wholes and parts is possible and desirable
4. Expression is joyous and is critical part of marking things work.
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6.2. Spatial Planning and Human Scale
Fractal geometry is based on hierarchical principle, which is an essential element of urban Planning
. The different scales in an area may be House, Housing colony, Panchayat, Taluk/Block, District,
State. Space use and movement governs the spacio-functional pattern.
Two major architectural definitions emerge as the basis of cities spatial nature: buildings and
movement channels according to Claudia Czerkauses (2006).
The geometric pattern of the spatial system is achieved with accessibility and piling that is, every
space is connected to each other as well as itself. Ultimately we can consider it a fractal structure.
For a holistic strategy for and sustainable planning the combination of configuration and
accessibility combined with plot sizes, free spaces, building volumes and building heights needs to
be considered in the context of ecological and socio-economic aspects.
The form of a city is in effect a “diagram of forces” and the form evolves through growth which is
achieved with the diverse interaction of these forces. Thus the term organic form. The form or
rather spatial form comprises of the external form that is shape and the internal form that is structure
therefore the form being a manifestation of system with structure. These system structures have
elements and relations where elements refer to the shape and the relations to the way the elements
function interacting and changing. The systems have subsystems and they are categorized in a
specific hierarchy. The various systems and aggregations may reflect the same form at different
system levels of hierarchy and this assemblage may be replication of the same form at different
scales. (Michael Batty, Fractal Cities, 1994)
33
Some theories regarding planning of an urban form
1. Development of Frankhauser fractal model of a city
The cities were organized on a movement sensitive hierarchical manner considering the fact that
catchments areas of different services are dependent on how often the services are used .
For example, Services for everyday life was situated close to housing areas, whereas a weekly or
monthly service areas require bigger catchments area.(Batty M, 2006, p.21)
Central Place Theory by Christallers
Fig 22: Central Place Theory by Christallers

Source: Wikipedia 2009
34
The biggest failure of such a model is that it demanded a pseudo - homogenous traffic
infrastructure and the remaining free spaces are approximately the same size. It was only
concerned with functional hierarchy without the spatial structure,
+
Fig 23: Garden city Ebenezer Howard Christallers model Frankhauser fractal model
Source: Wikipedia 2009
Christaller’s model is a development of Ebenezer’s garden city; combining these two is the
Frankhauser fractal model as illustrated above. The grey wedges are the greens.
The housing are pushed closer to the main traffic axes, decreasing distances and increasing
accessibility from and to services. A centre-hierarchy system is approached which gets multiplied in
various scales. /this is an effort to prioritise the use of public transport as well. In addition,
hierarchically organised system accounts of a linked free space that can be converted to green parks
and other recreational zones. This is a further development of the green belt concept from the
Garden City. The urban edge and the housing are interwoven with the green patches.
The linked spatial system of free spaces and agglomeration avoids uncontrolled and splinter
developments. This concept hopes to address all postulations of sustainability without
propagandising a mono-centric, compact city model. Here an important feature would be
distinguishing services on their frequency of use.
For the reduction of pollution, the services are localised for daily needs next to
residential areas. Services or malls frequented once a week can be placed at a greater distance.
Only with an understanding of the interrelation of all interwoven scales on different zoom levels can
thriving and sustainable communities, cities and regions be developed. According to requirements,
the model isflexible enough to implement individual strategies in greater detail, without destroying
the holistic and overall strategy.
35
"As from a blazing fire thousands of sparks fly forth, each one looking self-similar to its source, So
from the Eternal comes a great variety of things, and they all return to the Eternal finally." -
Mundaka Upanishad
6.3 Kandariya Mahadeo Khajuraho
Fig 24: The rising, fractal-like shikharas of Kandariya Fig 25: Line drawing of the Kandariya temple in
temple in Khajuraho.
Khajuraho. Source : Drawing from Stella Kramrisch's
Stella Kramrisch's book, The Hindu Temple book, The Hindu Temple
A great many temples have recursive shapes (self-similar) like the ‘shikharas’. The Hindu temple
typically involves a multiple set of ideas. There are a number of symbolisms combined in the Hindu
temple. The temple is oriented to face east. The temple design includes the archetypal image of a
Cosmic Person spread out yogi-like; symmetrically filling the gridded space of the floor plan, his
navel in the center, and it includes the archetype of the cosmic mountain. The curved contours of
some temple superstructures and their tiered arrangements owe much to a desire to suggest the visual
effect of a mountain peak
‘Thus a structure such as the Kandariya Mahadeva temple in Khajuraho visually conveys a recursive
sensibility. It is a whole of self-similar peaks clustered and rising, forming a consistent coherent
totality-- the rising slopes of a cosmic mountain. The rising and falling lines lead up to one supreme
point of transcendence, symbolic of the ultimate unity which is of supreme importance in many great
Hindu traditions. All the features are parts of the ultimate oneness, and so they share the same style,
though on various levels and scales of significance and attainment.’ (Jackson, 2004)
36
Fig 26: Line drawing of the subdivision of the shikharas of Kandariya temple in
Khajuraho. Source : Drawing from Stella Kramrisch's book, The Hindu Temple
Does this subdivision make the user feel more comfortable?

There are three basic elements to understand aesthetics that is harmony, proportion and scale.
Harmony – achieved through compositional balance. The form may be symmetric or asymmetric. It
is coupled with high degree of complexity. Architectural complexity allows for
Proportion- It is the harmonious relation of parts to each other and a perceived whole. Contrary to
the notion that ‘beauty lies in the eyes of the beholder’; there are certain rules to proportion and that
has been followed throughout history this. By looking at some successful examples, we see that only
a few elements proportionally added into as synergic whole and they are present in different cultures
across the globe.
Scale- This would mean the relative size of buildings. This may be with a particular measuring
system or relative size of parts to the whole.
In the Temple; the repeated motifs carry associations with the cyclical time scheme of Hindu
worldviews. "This overlapping of cycles of time and repetition of cosmic eras finds visual
expression in the forms of the temple, where architectural and sculptural motifs repeatedly appear in
different sizes in different parts of the building."(Mitchell, p. 68.)
This resonance of self-similar geometry and multiple cycles of time is another reason for recursion
in Hindu designs. Hindu intuitions that the time bound cosmos is cyclical-- on vast scales the four
cosmic ages wheel round and round, and on a smaller scale individuals are born again and again, as
well.
37
6.4 Understanding a settlement pattern
The old axiom, “As it is above, so it is below,” becomes the geometry of life and the laws of humanity
Case study:
Cochin, Vypin
The physical characteristic of Vypin is such that a unified system of topology, hydrology,
agricultural patterns and settlement patterns are very efficient and plainly apparent. This has helped
the settlement to have a rich culture and art. Each scale is integrated into the whole of the island, like
a miniature grain.
From layering mentioned earlier, we can deduce two chaotic
processes here, water flow as part of landscape and weather as part
of climate. Here chaos should be understood as scientific sense of
unpredictable behavior, not in the literary sense of fearful disorder.
The branching pattern of the drainage system becomes the base from
which the agriculture, transportation, public works and housing have
been developed.
From spatial planning; two architectural definitions here are
movement channels and the buildings.
A central road connects the entire island with temples, housing,
schools, commercial centers, paddy fields and backwater.
The road network has evolved with respect to the geographical and
functional aspects; one could say it is rather organic. It is in
accordance with the water network, which also serves as a major
means of transportation.
Hierarchy of space allocation:
Buildings are small, generally two stories. Though not quite evident
now, buildings aesthetics generally incorporates both climatic and
cultural aspects of the locality. Most activities occur outdoor due to
the climate.
Fig 27: Plan of Vypin

Source: Self rendered
38
Most live in compounds that face the lanes and open to them through gates. Living spaces consist of
both indoor and outdoor spaces in accordance with the climate and allow good circulation. There is a
generally a place for the family temple.
The spatial characteristics of a household are reflected at a cluster level and it may move up to the
neighborhood level. They are interrelated and inseparable. For example the holy space in a
‘naalukettu’ would be reflected in the shrine for a cluster and thereafter in the main temple for the
neighborhood. The rituals held in these temples deal with the entire life cycle. In effect the main
shrine is an elaborate version of the living conditions of ordinary people.
Social nature: There is collective enthusiasm in the festivals and other events. This is reflected in
the fine arts as well. The traditional paintings are filled with figures and activity and captures the
vibrancies of the area. The public buildings like the temple compounds and schools are open in
nature. It also echoes the fact that life does not end bot also continues in other forms.
Fig 28: The paddy fields

Source Author
39
Zoom1: Kerala in the

Indian sub-continent.
Zoom 2: The land

comprising various
marked areas.
Zoom 3: Vypin in
Kochi City Region
Zoom 6: Materials
Zoom 7: A grain
Zoom 8: A compound
Zoom 5: Artifact
Zoom 5: Architecture
Zoom 4: Schematic
Fig 29: Illustration of the different scales settlement pattern
Source: Author
40
Psychological features: A sound environment is necessary to achieve a sustainable condition.

Though the environment is highly heterogeneous there is a harmony. The varied emotions are
expressed in the performing arts prevalent there. The diversity, complexity and depth of human
condition is openly acknowledged and humorously expressed in the fine arts. The festivals are
celebrated with much vigour. Art has been developed to the level of social and psychological ability
and helps a sustainable culture flourish.
Fig 30: The central road Fig 31: A temple complex

Source: Author Source: Author
41
7. Analysis
 Pure fractals are abstract geometrical objects and they obey a particular kind of distribution
and that there are many non-geometrical objects that obey this universal distribution and
hence we may draw that a stable system has ‘fractal properties’.
 Smaller design elements in a built-form are more in number (known as the inverse power
law) and this is quite visible in adaptive designs. Like in the Khajuraho temple the finer
design elements are repeated several number of times. This also helps in bringing it down to
a human scale, connecting the divine and the earth.
 It is due to the fractal nature of the earlier temples that it was difficult to quantify or study
them using Euclidean geometry. This is because the unit of scale was determined by the
natural objects generally human proportions which again are fractal. ( Man is the measure of
all things, Heraclitus stated this.)
 Thinking of sustainability, an infinitely recyclable product can be compared to a repeating
unit like in the sierpinski gasket. An inference from cradle to cradle concept. This can also be
thought of as a regenerative process.
 The stability of a system depends upon the relative number and the sizes of the components.
It also depends upon the interconnectivity on the same level and at different levels.
 The complexity and diversity are essential and add on the overall quality of space. A
phenomenon we discussed earlier as layering. It is quite visible in the number of layers in
any settlement that create the multitude of events that occur.
 Fractal Architecture embracing complexity and diversity
An environment design with an altered concept of scale embracing the idea of complexity,
diversity, harmony, natural flow is sustainable just like multi storied canopy structure above
ground and the root to varying depths in subsurface perpetuating eternally in a first
landscape despite forest fires .Such an environmental design is a different aesthetic with
major changes in the design process which includes the following .
42
 Scale is where you consciously decide to focus within an infinite number of potential
focal points (Foci) : Singular scale in a Euclidean sense is replaced by a continuity of
intersecting scales. The selection of appropriate foci and their relation to region , site,
people, function, materials, etc, is an integral part of the design process. These are
choices that must be made by the designer.
 Metabolic efficiency is measured by the use of the smallest range of foci: Using the
nearest possible foci for energy, materials, water and waste processing allows
miniaturization of present metabolic processes and the greatest efficiency of the whole.
Accordingly, the designer must work as much as possible with on-site resources , and
minimize the use of off-site resources .
 Aesthetic effectiveness is measured by the expression of the broadest range of foci
within the design The broader the reach of the design, the more obtainable the aesthetic
goals of continuity and connectivity become. This is in contrast to the aesthetic
expression of reductionism and compartmentalization characteristic of industrial
architecture. A fractal contextualism must be an integral part of the aesthetic
composition.
 Complexity can replace the importance of function: Once functions are distributed to the
appropriate foci, spatial complexity can be central to the design. If a design is completed
with an intelligent and complex series of scales, all the necessary functions can be
provided for and will ensure the evolution of the design over time.
 Self –similarity is the glue between parts and wholes, variety and unit: The integration of
each complimentary aspect –nature and urbanity, work and retreat, community and
privacy should occur at each foci in a pattern of self-similarity, or affine similarity,
where perceived contradictions can be resolved.
 Maximum social and cultural diversity is possible and desirable within a cohesive unity:
In fractal geometry, infinite diversity and unified order is an everyday occurrence, not an
idealistic dream. The design must enhance, not diminish, diversity.
43
6. Conclusion
Through research, reading and discussions of the concepts and ideas governing fractals the author
has come to the following conclusions:
The knowledge of Fractals has far reaching impacts, it is again an attempt to study the natural forms
and this has brought about a paradigm shift in the thinking in various fields. For example we can
apply this to political process, which is a necessary part of physical planning and implementation. In
a democracy, political decision making is done through elections occurring at different places at
various times. Running as a candidate is similar to iteration, and voting equivalent to feedback.
Hence the voting process is iterative and evolutionary. Since it is not completely predictable, it is
chaotic, it also occurs at various scales in a self-similar pattern, it can be considered fractal.
The author has come to realize that being fractal is not the sole criteria for judging a building in
terms of sustainability. However a fractal approach would definitely make a building more efficient,
understand its socio-functional ability, its character, its purpose and contextuality these being
elements to sustainability of an architectural expression.
 Fractals help one quantify the natural world. In effect everything can be brought down to
fractals only a difference in the fractal content.
 This knowledge may help one remove the clutter and figure out a place in the complex web
of events. This is quite plainly visible in the evolution of a typical city pattern. Frankhauser
fractal model may be one tool to analyse an urban formwork.
 Time: Environmental design is critically important for our time in history when we look at
the history of human population, resource use and environmental effects as fractal patterns.
Instead of solely emphasizing on production, as has been the pattern in the industrial era, we
should concentrate on production, use and impact.
44
 Aesthetics of place: Aesthetics reflect the human culture and compose universal devises that
can be understood in spite of the differences in place, time and cultural traditions.
Sustainability is at its formative stages and can shape the aesthetic aspects, this can give an
impetus, experimental substance and flavour to the evolution of a sustainable society. The
aesthetic requirements of place begins to expand from the traditional ideas of aesthetics
which is proportion scale and harmony to reunite of what has become the fragmented and
reconnect to a larger purpose. From the fractal point of view this would be done at various
scales, from planet to place from setting to specific material.
 Philosophy: Every place and every building has an inner dimension along with physical
and cultural dimensions. The inner subconscious ecology of the persons who are to inhabit a
building is to be in consonance and harmony with the physical environment and cultural
ecology since all three: Physical place, culture place, inner place are connected in each
individual. In the traditional Indian practice finalizing the site for the house of a family is
identified as the seventh step in the process of house construction. Proceeded by many
activities in the inner ecology of the persons.
 There are two aspects to understanding fractals and sustainability: The 'same' or the 'regular'
part of the fractal definition suggests that patterns, rules, and knowledge all repeat, at all
scales: this part is sustainable or constant. This feature of fractals is explained by
strange attractors found in the study of chaos and fractals. The ‘different’ part is when we
know that nothing is constant. There will never be a repeat of events; however certain events
may run in a cycle but never the same or the actions pertain.
 In the present era sustainability is a rising concern and it encompasses various elements that
need to be addressed in a holistic way. Here fractal architecture is more of a realization, an
evolving concept that would guide in design decisions.
45
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FRACTAL DESIGNSustainability Through Fra

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FRACTAL DESIGNSustainability Through Fra

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An observation of the fractured

world through a fractured mind

GUIDE: AR. RICHA AGARWAL

Ar. Akshay Srinagesh - for his views and opinions.

Pof: Manjiri Sharma - for her insight into the topic

All my friends for listening and bearing me.

My parents for everything

1.1 Research Question ..................................................................................................................... 8

1.2 Need Identification .................................................................................................................... 8

1.3 The broad Scope ........................................................................................................................ 9

1.4 Limitations. .............................................................................................................................. 10

1.5 The Research methodology..................................................................................................... 10

2. Fractal Design ............................................................................................................................. 12

2.1 Concept of Fractals ............................................................................................................. 12

2.2. Formula for Fractal Dimension. ........................................................................................... 14

2.3. Comparison of Euclidean geometry and Fractal geometry ................................................ 15

2.4. Infinity as part of life.............................................................................................................. 16

3. Fractal Geometry in Architecture ............................................................................................... 17

3.1 The Ba-ila settlement of Southern Zambia ........................................................................... 17

3.2 New Delhi Master plan............................................................................................................ 18

3.3 Robie house by Frank Lloyd Wright ..................................................................................... 19

3.4 Antonio Gaudi Sangrada Familia .......................................................................................... 20

3.5 Kandariya Mahadeo Temple –Khajuraho ............................................................................ 20

3.6 Layering ................................................................................................................................... 21

4.1. Evolution of the Concept ....................................................................................................... 23

4.2. Sustainability and architecturee ........................................................................................... 24

4.3. Population growth and sustainability concerns: ................................................................. 24

5.4 Sustainability process implication ..................................................................................... 26

4.5 Features of sustainable system ............................................................................................ 26

4.6. Aesthetics of sustainable designs ........................................................................................... 27

5 Environmental Design .................................................................................................................... 28

5.1. History of environmental design ........................................................................................... 28

5.3. Environmentalism .................................................................................................................. 30

5.4. Regeneration ........................................................................................................................... 30

5.5 Life-Cycle Design: ............................................................................................................... 31

6. Sustainability and fractal architecture ........................................................................................ 32

6.1. Prototypes of sustainable design: ........................................................................................ 32

6.2. Spatial Planning and Human Scale ...................................................................................... 33

6.3 Kandariya Mahadeo Khajuraho ............................................................................................ 36

6.4 Understanding a settlement pattern ...................................................................................... 38

Figure 2: Introducing Randomness

Figure 3: Formation of Peano curve

Figure 4: Comparing Julia sets to a site on Earth

Figure 5: Ba-ila settlement model which is in Southern Zambia

Figure 7: New Delhi Master plan

Fig 8: The Hexagram Plan

Figure 9: The Fractal Dimension of The Robie house

Figure 11: Front Elevation of the Sagrada Familia, Spain

Figure 12: Nativity Façade of the Sagrada Familia, Spain

Figure 14: The Kendariya Mahadeo Temple

Figure 18: Linear plot of history of human population

Figure 19: Fractal view of history of human population

Figure 20: The four eras of the human population

Figure 21: The four phases in a Cultural Era

Figure27: Plan of Vypin

Figure 28: The paddy fields

Figure 30: the central road

Figure 31: A temple complex

1.1 Research Question

Does the knowledge of fractal geometry help in achieving sustainable designs?

1.2 Need Identification

the efforts of naturalists, architects and thinkers over decades.

1.3 The broad Scope