In yesterday's post, we explored the concept of self-similarity in art, science, and fashion. This discourse extends into architecture, where certain structures, often less immediately apparent, exemplify this principle, such as those designed by Paolo Portoghesi.
An admirer of Baroque architect Francesco Borromini, Portoghesi deeply studied his work, particularly Borromini's mathematical approach to spatial design and geometric manipulation. This influence is evident in Portoghesi's own architectural language, where he sought to create dynamic and responsive spaces.
While Borromini may not have explicitly engaged with self-similarity in the modern mathematical sense, his use of proportional relationships and recursive geometric systems exhibits its defining characteristics. Self-similarity, in essence, refers to patterns that repeat at different scales, a principle clearly observed in Borromini's manipulation of geometric forms and proportions.
In buildings like San Carlo alle Quattro Fontane, Borromini used geometric transformations that involved recurring forms, such as circles and ovals, creating a sense of continuity and harmony. In this church Borromini used recursive geometric subdivisions to create smooth, continuous surfaces. He employed the pantograph to generate flowing curves with different tangents, tracing curves along others. The church's design, both in plan and facade, utilized the column diameters to create an intricate balance of concave and convex shapes.
Borromini's approach often involved expanding or contracting shapes in a way that each part of the building echoed the proportions and geometries of the whole, a key feature of self-similarity.
While Portoghesi may not have explicitly framed his architectural approach through the mathematical lens of self-similarity, his use of modularity, geometric repetition, and scaling principles aligns with the essence of self-similarity in architecture. His designs often explored the interplay of forms that echoed one another across different scales, creating a cohesive spatial rhythm and a deep sense of continuity.
A striking example is his design for the Mosque of Rome (1975-1995), where he merged Islamic architectural traditions with contemporary design principles. The mosque's composition is structured around modular repetitions resonating at different scales, repeating geometric patterns and motifs rooted in Islamic art (an architectural language inherently based on self-similarity).
The expansive prayer hall, with its towering, curving pillars, evokes the image of a forest, reinforcing a sense of organic spatial flow. The dome and overall spatial organization employ recursive geometric relationships, mirroring the intricate self-referential structures found in traditional Islamic architecture while integrating a distinctly modern sensibility.
The principle of self-similarity is also evident in Casa Papanice (1969), where concentric circles define both the floor plan and the interior spatial organization. This motif becomes particularly striking for example in the living room ceiling, where a series of overlapping cylindrical forms, radiating from multiple focal points, reinforce a layered sense of depth and continuity. The geometrical forms in this building offer spatial dynamism and fluidity.
A similar approach can be observed in the Chiesa della Sacra Famiglia (Church of the Holy Family, 1969-74) in Salerno, where the circle serves as a recurring architectural motif, symbolizing unity and eternity. The circular plan and dome-like roof establish a sacred spatial order, creating a dialogue between structure and worshippers while emphasizing the completeness and continuity of the space.
For fashion designers Portoghesi's plans may also be intriguing and inspiring for embellishments and embroideries, in particular the diagrams from his "Fields Theory" (Teoria del campi), a concept he formalized in Inibizioni dell'architettura moderna (1974).
Drawing inspiration from the intricate ornamentation of Baroque altars, Portoghesi proposed that architectural elements could generate spatial waves similar to magnetic fields affecting their surroundings through intensity, light, and sound. This idea materialized in a series of very inspiring spatial diagrams (View this photo) composed of concentric ripples resembling waves illustrating the dynamic interplay between built form and its environment that then inspired a series of projects that culminated in Casa Papanice and the Church of the Holy Family.
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