![]() ![]() Exemplified by the fractal structure created by the layering of paint in paintings of Jackson Pollock ( Taylor et al., 1999, 2007 Taylor, 2003), fractal patterns can elicit highly aesthetic responses through changes in complexity.įurthermore, fractal patterns have the prospect of altering more than just the aesthetic experience of a given object ( Juliani et al., 2016 Taylor et al., 2018 Abboushi et al., 2019 Roe et al., 2020 Spehar and Stevanov, 2021). Across diverse cultures, fractal patterns are present in both contemporary and traditional artworks. The aesthetic quality of fractal patterns has been well observed ( Spehar et al., 2003) and can be highlighted by its appearance in art ( Taylor et al., 1999, 2018 Graham and Field, 2008 Graham and Redies, 2010 Viengkham and Spehar, 2018). Additionally, the nature of pattern repetition (occurring in either an exact or statistical manner) also impacts perceptions of pattern preference and complexity ( Taylor et al., 2005, 2011 Taylor and Sprott, 2008 Hagerhall et al., 2015 Bies et al., 2016). Fractals are comprised of self-similar patterns repeating across scale, with varying levels of recursion (number of repetitions across scales) and fractal dimension “ D-value” (rate of pattern shrinkage between repetitions) that drive perceptions of pattern complexity by determining the relative contributions of coarse-to-fine structure for the overall pattern. Installations of these composite mid-high complexity ‘global-forest’ patterns consisting of ‘tree-seed’ components balance these contrasting needs, and can serve as a practical implementation of biophilic patterns in human-made environments to promote occupant wellbeing.ĭriving nature’s aesthetics, fractal patterns are prevalent across both microscopic and global structures in natural environments ( Mandelbrot, 1982 Taylor, 2021). ![]() This set of studies demonstrates that fractal preference is driven by a balance between increased arousal (desire for engagement and complexity) and decreased tension (desire for relaxation or refreshment). Subsequently, we determine that the local constituent fractal (‘tree-seed’) patterns contribute to the perception of the overall fractal design, and address how to balance aesthetic and psychological effects (such as individual experiences of perceived engagement and relaxation) in fractal design installations. In this series of studies, we first establish divergent relationships between various visual attributes, with pattern complexity, preference, and engagement ratings increasing with fractal complexity compared to ratings of refreshment and relaxation which stay the same or decrease with complexity. These designs span multiple mediums yet are all intended to lower occupant stress without detracting from the function and overall design of the space. These designs are composite fractal patterns consisting of individual fractal ‘tree-seeds’ which combine to create a ‘global fractal forest.’ The local ‘tree-seed’ patterns, global configuration of tree-seed locations, and overall resulting ‘global-forest’ patterns have fractal qualities. Here we examine the aesthetic and perceptual experience of fractal ‘global-forest’ designs already installed in humanmade spaces and demonstrate how fractal pattern components are associated with positive psychological experiences that can be utilized to promote occupant wellbeing. However, limited information has been gathered on the impact of other visual judgments. Previous work has demonstrated consistent trends in preference for and complexity estimates of fractal patterns. The perceptual experience of human-made environments can be impacted with inclusion of these natural patterns. Highly prevalent in nature, fractal patterns possess self-similar components that repeat at varying size scales. 3Material Science Institute, Department of Physics, University of Oregon, Eugene, OR, United States. ![]()
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