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Palladio's design principles, including proportion and harmony, have often been associated with mathematical definitions of beauty. However, the geometric and semantic properties of his façades have rarely been analysed in a holistic manner. There is little evidence of how mathematical beauty may be embodied in his architecture. This research investigates complexity (fractal dimension or D) and diversity (perplexity or PP) as aesthetic indices, aiming to capture distinct characteristics of Palladian architecture. The D and PP values of 22 Palladian villa façades are measured and analysed, before being compared with those of three Renaissance facades by Sebastiano Serlio. The combination of D and PP captures the geometric and semantic aesthetic qualities of architectural compositions. Importantly, the developed scatter plot of D and PP results supports the identification of four distinct aesthetic types of Palladian façade designs. The novel combination of D and PP measures contributes to a better understanding of one definition of the mathematical beauty of architecture, wherein “the whole is other than the sum of the parts” in compositional terms (a famous Gestalt principle). Specifically, this research provides new mathematical insights into the visual character of Palladian architecture and compares two important measures thereof.

This study presents an analysis of two aesthetic properties, complexity and diversity, in Palladian architecture. The former highlights the fractal dimension of façade geometry, and the latter its semantic randomness. Along with a methodological description and advice on settings, this study contributes to the discussion about mathematical beauty in architecture.

Bruce Boucher prefaces the special “Palladio Century” issue of the Nexus Network Journal with a tribute to Sally and Carl Gable.

Fitis a book about architecture and society that seeks to fundamentally change how architects and the public think about the task of design. Distinguished architect and urbanist Robert Geddes argues that buildings, landscapes, and cities should be designed to fit: fit the purpose, fit the place, fit future possibilities. Fit replaces old paradigms, such as form follows function, and less is more, by recognizing that the relationship between architecture and society is a true dialogue--dynamic, complex, and, if carried out with knowledge and skill, richly rewarding. With a tip of the hat to John Dewey,Fitexplores architecture as we experience it. Geddes starts with questions: Why do we design where we live and work? Why do we not just live in nature, or in chaos? Why does society care about architecture? Why does it really matter?Fitanswers these questions through a fresh examination of the basic purposes and elements of architecture--beginning in nature, combining function and expression, and leaving a legacy of form. Lively, charming, and gently persuasive, the book shows brilliant examples of fit: from Thomas Jefferson's University of Virginia and Louis Kahn's Exeter Library to contemporary triumphs such as the Apple Store on New York's Fifth Avenue, Chicago's Millennium Park, and Seattle's Pike Place. Fitis a book for everyone, because we all live in constructions--buildings, landscapes, and, increasingly, cities. It provokes architects and planners, humanists and scientists, civic leaders and citizens to reconsider what is at stake in architecture--and why it delights us.

The Lindroths named Ca'[Liza] after their daughter, Eliza, adding the Venetian appellation Ca', short for casa, in honor of the region where Palladian villas still stand today. The home's South Florida architects -- Teofilo Victoria and his wife, Maria de la Guardia -- say [ANDREA PALLADIO]'s Villa Pisani and Villa Cornaro, as well as South Carolina's eighteenth-century Drayton Hall, inspired the design. Victoria adds, \"It's like a memory from a time lost.\"

Applying a language/design analogy, a reverse-engineering-driven model for architectural design analysis is introduced. The model consists of four main layers: morphological, semantic, semiotic, and pragmatic. To test its applicability, the model is applied to a Palladian precedent as a case study. By the development of the model and its implementation for the analysis of the underlying regulatory and formation principles of the precedent, this paper aims to contribute to the architectural knowledge with a new analytical tool. It also aims to reveal new insights into a precedent’s multi-layered compositional language and its underlying architectonics. Findings about the applicability of the model and the compositional language of the precedent’s design and its associative meanings and connotations are reported, explained and discussed.