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DOI: 10.5923/j.arts.20110101.01
Abstract Golden Proportion or Golden Ratio is usually denoted by the Greek letter Phi (), in lower case, which represents an irrational number, 1.6180339887 approximately. Because of its unique and mystifying properties, many researchers
and mathematicians have been studied about the Golden Ratio which is also known as Golden Section. Renaissance architects,
artists and designers also studied on this interesting topic, documented and employed the Golden section proportions in
eminent works of artifacts, sculptures, paintings and architectures. The Golden Proportion is considered as the most pleasing
to human visual sensation and not limited to aesthetic beauty but also be found its existence in natural world through the body
proportions of living beings, the growth patterns of many plants, insects and also in the model of enigmatic universe. The
properties of Golden Section can be instituted in the pattern of mathematical series and geometrical patterns. This paper seeks
to represent a panoptic view of the miraculous Golden Proportion and its relation with the nature, globe, universe, arts, design,
mathematics and science. Geometrical substantiation of the equation of Phi, based on the classical geometric relations, is also
explicated in this study. Golden Ratio and its chronicle, concept of Golden Mean and its relations with the geometry, various
dynamic rectangles and their intimacy with Phi, Golden Ratio in the beauty of nature, Phi ratio in the design, architecture and
engineering are also presented in this study in a panoptical manner.
Keywords Golden Ratio, Golden Section, Golden Mean, Golden Spiral, Phi, Geometrical Validation of Phi, Fibonacci
Number, Phi in Nature, Equation of Phi
1. Instauration
The interrelation between proportion and good looks has
made a lot of discussion in science because of the accidental
occurrence of the shapes in various designs of objects like
books, paintings, edifices and so on. The designs are approximated by a rectangle shaped such that the ratio of its
length and height is equal to the Golden Ratio, = (1 +
51/2)/2 = 1. 6180339887 (approx.). The also called as the
divine proportion, golden section, golden cut, golden ratio,
golden mean etc. which is the result of dividing a segment
into two segments (A + B) such that A/B = (A+B)/A = 1.
6180339887 (approx.) where A > B[1].
The natural proportioning system provides the foundation
of the work of many artists and designers. The proportion
known as the Golden Mean has always existed in mathematics and in the physical universe and it has been of interest to mathematicians, physicists, philosophers, architects,
* Corresponding author:
akhter900@yahoo.com (Md. Akhtaruzzaman)
Published online at http://journal.sapub.org/arts
Copyright 2011 Scientific & Academic Publishing. All Rights Reserved
Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
(+)
= 1.6180339887(. )
(1)
Golden rectangle is also known as whirling square rectangle because of the special property of subdividing into a
reciprocal rectangle and a square[1,15]. The proportionally
decreasing squares produce a spiral by using the arcs having
radius as the length of the side of the squares[1,2]. Figure 3
shows the golden spiral AEGHIJKLO which is drawn inside
the golden rectangle ABCD. BD and CF are the two diagonals of the main golden rectangle and the first smaller reciprocal golden rectangle, BCEF, respectively. The two
diagonals intersect at the point O which is called the sink
Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
(+)
= 1.6180339887(. ) (2)
(a) Pentagon
Figure 4. Two different types of golden triangle (a) ABC and (b) XYZ
or
/
2
; | 36 | =
(b) Decagon
Figure 5. A series of golden triangles construct the Regular Pentagon,
Pentagram, Regular Decagon and Decagram
Golden Rectangle[2,13,15].
(a)
(b)
Figure 6. Golden spiral formed on the whirling golden triangle
(b) 2 rectangles
(c) 3 Rectangles
(d) 4 rectangles
(e) 5 rectangles
Figure 7. Representation and construction of various dynamic rectangles
Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
= 1. 6180339887
(3)
=
2
If the two numbers 1 and 5 are added together and the
result of the addition is divided by 2, the final result will
become as the value of Phi. Now, if a square is considered as
1, a root 5 rectangle is considered as 5 and the golden rectangle is taken as the replacement of , the Equation (3) can
be written as,
= =
+ 5
2
(4)
(2 + 2 ) + 2 + 2 + 2 = 5
(7)
5 =
So, the length of Golden Rectangle or Phi Rectangle (L)
will be the half of the summation of the length of 5 rectangle and the length of square. Here the width of the Phi
Rectangle (W) is equal to the width of the square as well as
the width of the 5 rectangle.
sq +
+5
5
=
=
2
2
= = 5 =
Now from Equation (3), it can be written as,
(a)
1 +5
2
+ 5
2
= 1. 6180339887 (10)
+ 5
Then, () =
So, =
(c)
Figure 8. (a) A square, (b) a Root 5 rectangle and (c) Golden Rectangle
construction based on the equation of Phi
Figure 8 (a) and 8 (b) show the square ABCD and the 5
rectangle CDEF respectively where the width of the 5
rectangle is equal to the side of the square, AB=CD=EF. By
merging the square and the 5 rectangle it is possible to get
another new rectangle called ABFE shown in Figure 8 (c). If
the new rectangle is divided into two equal sections, the
(8)
(9)
Again, the length of the Golden Rectangle can be considered as a where a is the width of the rectangle. So
Equation (3) can be proofed from Equation (4),
=
(b)
(6)
2
2 +(5)
2
1 +5
2
(11)
(12)
(13)
(a)
(b)
(c)
(d)
(e)
(f)
(a)
(b)
Figure 10. Passion Flower (Passiflora Incarnata) from the back (a) and
front (b) having the examples of Fibonacci Numbers in nature
(g)
(h)
(i)
Figure 9. Some flowers having different number of petals related to
Fibonacci numbers, (a) White Calla Lily having one petal, (b) Euphorbia
having two petals, (c) Trillium with three petals, (d) Hibiscus having five
petals, (e) Buttercups with five petals, (f) Bloodroot with eight petals, (g)
Black Eyed Susan having thirteen petals, (h) Shasta Daisy having 21 petals
and (i) Daisy with 34 petals
Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
(a)
(b)
(c)
Figure 13.
(d)
(a)
(e)
(f)
(c)
(g)
(b)
(d)
(h)
(i)
Figure 12. Cross sectional view of some fruits and vegetables, (a) Banana
has three sections, (b) Cantaloupe also have three sections, (c) Cucumber
having three sections, (d) Kiwano fruit with three sections, (e) Watermelon
also have three sections, (f) Apple having five seeds arranged as like a
pentagram, (g) Orange having ten sections can be grouped into five, (h)
Okra have the pentagon shape with ten seeds and (i) Star fruits have five
sections with a pentagram shape
(e)
(f)
Figure 14. Appearance of golden spiral in nature (a) Orange petals seed
florets, (b) Sunflower seed florets, (c) Pine Cones, (d) Broccoli, (e) Golden
Ratio flower and (f) Petals of a Rose
don't block the older leaves from the sun ray or the maximum
amount of rain or dew gets directed down to the roots. If a
plant has spirals, the rotation tends to be a fraction made with
two successive Fibonacci Numbers, for example, 1-2, 3-5 or
even 5-8 also common that getting closet to the golden ratio.
Figure 15. Loosely distributed leafs structure where the successive leaves
in the spiral are numbered and lined from the centre of the spiral[18]
(a)
(a)
(b)
(c)
(c)
(b)
(d)
(d)
(e)
Figure 17. Some various Cactuses are showing the existence of the
Golden Spiral in their various growth patterns
(e)
(f)
(g)
(h)
Figure 16. Golden Angle and Golden Spiral are also found in some plants
and ferns. (a), (b), (c) and (d) show various succulent plants having Golden
Spirals and Angles in their leaf arrangement. (e), (f) and (g) show some
Ferns top. (h) Vine Tendrils
10
Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
number of primordia increases, the divergence angle eventually converges to a constant value of 137.5 degrees and
thus creates Fibonacci spirals[3]. Various Firn tops and Vine
Tendrils show almost the same characteristics of the Fibonacci spiral or Golden spiral. Not only that, Fibonacci spiral
also found on some cactuses and some fruits. Most pineapples have five, eight, thirteen, or twenty-one spirals of increasing steepness on their surface. All of these are Fibonacci numbers[3]. Figure 17 shows various types of Cactuses
having almost the same properties of Golden spiral in their
growth patterns.
be fitted on its body where the eye and the tail fin falls in the
reciprocal golden rectangles and square[1]. The individual
fins also have the golden section properties. An experiment
on Blue Angle fish shows that the entire body of the fish fits
perfectly into a golden section rectangle, shown in Figure 19
(g). The mouth and gill of the Angle fish are on the reciprocal
golden section point of its body height[1].
(a)
(a)
(b)
(b)
(c)
(d)
(e)
(f)
(c)
(d)
Figure 18. (a) Spiral leafs of orchid, (b) Leafs of a Coconut tree having
Golden angles, (c) Maple leafs with Golden angles between primary and
secondary veins and (d) Golden Elm Leaf with Golden angles in veins
arrangements
The Fibonacci numbers form the best whole number approximations to the Golden Section. Plants illustrate the
Fibonacci sequence in the numbers and arrangements of
petals, leaves, sections and seeds. Plants that are formed in
spirals, such as pinecones, pineapples and sunflowers, illustrate Fibonacci numbers. Many plants produce new branches
in quantities that are based on Fibonacci numbers. German
psychologist Adolf Zeising, whose main interests were
mathematics and philosophy, found the Golden Section
properties in the arrangement of branches along the stems of
plants and of veins in leaves[7]. Figure 18 shows the existence of Golden Spiral and Golden Angle on the leaves of
trees. Zeising also concentrated on the skeletons of animals
and the branching of their veins and nerves, on the proportions of chemical compounds and the geometry of crystals,
even on the use of proportion in artistic endeavours. He
found that the Golden Ratio plays a universal and important
role in all of these phenomena[7].
There are a lot of examples of the Golden Section or Divine Proportion found on animals, fishes, birds, insects, and
even on some snails. The eye, fins and tail of a dolphin fall at
Golden Sections of the length of its body. A penguin body
also can be described by the Golden Ratio properties. The
Rainbow Trout fish, shown in Figure 19 (h), also shows the
same properties where three golden rectangles together can
(g)
(h)
Figure 19. (a), (b), (c) and (d) some natural shell and a garden snail having
Golden Spiral like structure, (e) Star fish, (f) Sea Horse, (g) Blue Angle Fish
having perfect Golden Section example and (h) Trout fish[1]
(a) Galaxy
(a)
11
(b)
(c)
Figure 20. Golden Section appears in (a) ants body parts, (b) peacocks
feather and (c) natural design of a butterfly
(d) Whirlpool
12
Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
same ratio as Phi. Again the distances from head to naval and
naval to hill also express the golden proportion[1,2,4]. The
bones of fingers in human hand are related to each other by a
ratio of Phi. For instance the proportion between the forearm
and upper arm also follows the rule of golden ratio and the
same ratio appears between the hand and forearm. Human
faces are also comprised of this ratio within the relationships
between the eyes, ears, mouth and nose[17,22]. The human
being is the most beautiful and most perfect instauration of
Allah. Allah said in the Holly Quran;
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
(k)
(l)
(m)
Figure 22. Golden Section in human body parts (a) Human body, face and
fingers, (b) Spiral on human ear, (c) Eye position on human face, (d) and (e)
Golden ratio on human teeth, (f) X-ray image of human fingers, (g) and (h)
Human hand and shoulder, (i) DNA spiral, (j) Human lung, (k), (l) and (m)
Electrocardiogram (ECG or EKG) tracings
13
14
Md. Akhtaruzzaman et al.: Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
Figure 23. Google Earth image indicating the latitude and longitude of Mecca and Golden Mean point of the Globe
15
(a)
(b)
(k)
(c)
(d)
(e)
(l)
(f)
(g)
(m)
Figure 24: (a) Golden Ratio on a Violin, (b) Pentagon appears on Football,
(c) Golden Ratio on Compact Disk (CD) design, (d) Water tap, (e) Spiral
design of a kitchen sink, (f) and (g) two different design of APPLE iPod, (h)
Chaise Longue design based on Golden Ratio, (i) and (j) ID Card and Visa
Debit Card, (k) and (l) Toyota and PEPSI logo design based on Golden
Ratio, (m) Legendary design of Apple iCloud logo
(h)
(i)
Le Corbusier, one of the famous architects, also represented the divine proportion onto his design, Chaise Longue
in 1929, shown in Figure 24 (h). The proportion of the chaise
relates to the harmonic subdivision of a golden rectangle
where the width of the rectangle becomes the diameter of the
arc that is the frame of the chaise[1]. Plywood Chair, designed by Charles Eames in 1946, also reflects the application of the golden ratio in its design strategies[1]. The chair
back fits perfectly into a golden section rectangle.
Credit cards are also in the shape of a Golden Rectangle.
Standard sized credit cards are 54mm by 86mm, creating a
ratio of 1.5926, which is approximately 1.6. A small expla-
16
Md. Akhtaruzzaman et al.: Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
17
structure, (b) Parthenon, (c) Notre Dame in Paris, (d) United Nation building,
(e) Canadian National (CN) Tower, (f) Sculpture called The Seed designed
by Peter Randall, (g) Australian sculptor Andrew Rogers's 50-ton stone and
gold sculpture, entitled Golden Ratio, (h) Education Centre called The Core
Eden Project, (i) Illinois Institute of Techonoloy Chapel, (j) Spiral design of
a lamp post, (k) David Statue, (l) Doryphoros by Polykleitos, (m) Venus de
Milo, (n) Statue of Athena, (o) Doryphoros and Artemision Face
(a)
(b)
(c)
(d)
(f)
(e)
(g)
(h)
(i)
(k)
(j)
(l)
(m)
(n)
(o)
Figure 25. Golden ratio in artifacts and manmade structures, (a) Pyramid
In Doryphoros by Polykleitos, the ratio between the distances from navel to knee and from navel to sole is 1.61. The
ratio of the distances from navel to sole and from navel to
head is also 1.61. Australian sculptor Andrew Rogers's
50-ton stone and gold sculpture, entitled Golden Ratio, is
donated and installed outdoors in Jerusalem, shown in Figure
25 (g). The height of each stack of stones, beginning from
either end and moving toward the centre is the beginning of
the Fibonacci sequence, 1, 1, 2, 3, 5 and 8. A geometrical
analysis of the Great Mosque of Kairouan, built by Uqba ibn
Nafi c. 670 A.D., reveals a consistent application of the
golden ratio throughout the design. The analysis was done by
Boussora and Mazouz who said that the golden ratio was
found in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret.
The Stuppa of Borobudur in Java, Indonesia, the largest
known Buddhist stupa was built in eighth to ninth century
AD, has the dimension of the square base related to the diameter of the largest circular terrace as 1.618:1. According to
the official tourism page of Buenos Aires, Argentina, the
ground floor of the Palacio Barolo (1923), designed by Italian architect Mario Palanti, was built based on the golden
section.
The Venus de Milo sculpture, shown in Figure 25 (m), was
carved by the Greek sculptor Alexandros which is strictly to
the Golden Proportion. On the face of the Statue of Athena,
Figure 25 (n), the first Golden Ratio is the length from the
front head to the ear opening compared with the length from
the forehead to the chin. The second one appears in the ratio
of the length from the nostril to the earlobe compare with the
length from the nostril to the chin.
The Golden Section is a law of proportionality that occurs
frequently in nature and its uses are useful in particle Arts.
This was first developed by a Roman writer, architect and
engineer, Marcus Vitruvius Pollio, which is most famously
known from Leonardo Da Vinci's drawing 'The Divine
Proportion'. Some studies of the Acropolis, including the
Parthenon, conclude that many of its proportions approximate to the golden ratio. The Parthenon's facade as well as
elements of its facade can be circumscribed by golden rectangles, which might indicate that their architects were aware
of the golden ratio and consciously employed it in their
designs. It is also possible that the architects used their own
sense of good proportion, and that this led to some proportions that closely approximate the golden ratio. The Swiss
architect Le Corbusier, famous for his contributions to the
modern international style, centred his design philosophy on
systems of harmony and proportion. His faith in the
mathematical order of the universe was closely bound to the
golden ratio and the Fibonacci series. He explicitly used the
Md. Akhtaruzzaman et al.: Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
18
golden ratio in his system for the scale of architectural proportion. He saw this system as a continuation of the long
tradition of Vitruvius, Leonardo da Vincis Vitruvian Man,
the work of Leon Battista Alberti and others who used the
proportions of the human body to improve the appearance
and function of architecture. Le Corbusier sectioned his
model human bodys height at the navel with the two sections in golden ratio, then subdivided those sections in
golden ratio at the knees and throat. He used these golden
ratio proportions in the Modulor system, a harmonious
measure to the human scale, which was exemplified in his
Villa Stein in Garches. The villa's rectangular ground plan,
elevation, and inner structure closely approximate to the
golden rectangles. Another Swiss architect, Mario Botta also
applied the ratio in many of his designs on geometric figures.
Several private houses he designed in Switzerland are
composed of squares and circles, cubes and cylinders. In a
house he designed in Origlio, has the golden ratio in the
proportion between the central section and the side sections
of the house.
(b)
(c)
(d)
19
rhombus tiling named as P3. The rhombus tiling was independently discovered by Robert Ammann in 1976. The three
types of Penrose tiling P1, P2 and P3 have many common
features related to the pentagon and hence to the Golden
Ratio.
(a)
(b)
(d)
(f)
Figure 27. Golden Ratio based design of cars, (a), (b), (c) and (d)
Volkswagen Beetle, (e) Toyota Supra, and (f) Golden Section appears on a
cars door
20
Md. Akhtaruzzaman et al.: Geometrical Substantiation of Phi, the Golden Ratio and the Baroque of Nature,
Architecture, Design and Engineering
6. Conclusions
Using Fibonacci numbers, the Golden Ratio becomes a
golden spiral, that plays an enigmatic role everywhere in the
nature such as in shells, pine cones, the arrangement of seeds
in a sunflower head and even galaxies. Adolf Zeising, a
mathematician and philosopher, while studying the natural
world, saw that the Golden Ratio is operating as a universal
law. On the other hand, some scholars deny that the Greeks
had any aesthetic association with golden ratio. Midhat J.
Gazale says that until Euclid the golden ratio's mathematical
properties were not studied. In the Misconceptions about
the Golden Ratio, Dr. George Markowsky also discussed
about some misconceptions of the properties and existence
golden ratio[24] in various structures and design. Basically
the Golden Ratio should not be considered as a convention to
all circumstances like a law of nature but it needs deeper
study and analysis to establish the relation with the ratio as it
is a curiosity of researchers to fulfil the demand of this field
of research. Some group of researchers in 1991 found an
interesting rule in the decay profile of the RB type II Bursts
that follows the golden ratio[27]. Y.H. Chan and S.A.R.
Abu-Baker used a new strategy called Modified Golden
Ratio (MGR) and designed an algorithm for face boundary
refinement and face extraction[30]. Some other researchers
also used the ratio to detect the face region in digital images[31]. Micha Hofri and Zvi Rosberg was designed a
protocol named as Golden Ratio Control Policy for Multiple
Access Channel Network and achieved the cost closer to the
lower bound for realistic parameters[32]. Qing Xue and
Phillip Sheu applied the golden section search method to find
a set of collision free optimal paths for mobile robots[33]. In
ACKNOWLEDGEMENTS
The authors would like to thank their honorable parents.
They also would like to express their appreciations to the
Ministry of Higher Education (MOHE), Malaysia, Research
Management Centre (RMC), IIUM and Kulliyyah of Engineering, (KOE), IIUM, Malaysia.
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Architecture, Design and Engineering
September 2011