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In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their summation to the larger of the two quantities. Expressed algebraically, for quantities and with , is in a golden ratio to if
where the Greek letter phi ( or ) denotes the golden ratio. The constant satisfies the quadratic equation and is an irrational number with a value of
The golden ratio was called the extreme and mean ratio by Euclid, and the divine proportion by Luca Pacioli; it also goes by other names.
Mathematicians have studied the golden ratio's properties since antiquity. It is the ratio of a regular pentagon's diagonal to its side and thus appears in the construction of the dodecahedron and icosahedron. A golden rectangle—that is, a rectangle with an aspect ratio of —may be cut into a square and a smaller rectangle with the same aspect ratio. The golden ratio has been used to analyze the proportions of natural objects and artificial systems such as , in some cases based on dubious fits to data. The golden ratio appears in some patterns in nature, including the phyllotaxis and other parts of vegetation.
Some 20th-century and , including Le Corbusier and Salvador Dalí, have proportioned their works to approximate the golden ratio, believing it to be aesthetics pleasing. These uses often appear in the form of a golden rectangle.
Thus, if we want to find , we may use that the definition above holds for arbitrary ; thus, we just set , in which case and we get the equation , which becomes a quadratic equation after multiplying by : which can be rearranged to
The quadratic formula yields two solutions:
Because is a ratio between positive quantities, is necessarily the positive root. The negative root is in fact the negative inverse , which shares many properties with the golden ratio.
Ancient Greece mathematicians first studied the golden ratio because of its frequent appearance in geometry; the division of a line into "extreme and mean ratio" (the golden section) is important in the geometry of regular pentagrams and . According to one story, 5th-century BC mathematician Hippasus discovered that the golden ratio was neither a whole number nor a fraction (it is irrational), surprising Pythagoreanism. Euclid's Elements () provides several theorem and their proofs employing the golden ratio, and contains its first known definition which proceeds as follows:
The golden ratio was studied peripherally over the next millennium. Abu Kamil (c. 850–930) employed it in his geometric calculations of pentagons and decagons; his writings influenced that of Fibonacci (Leonardo of Pisa) (c. 1170–1250), who used the ratio in related geometry problems but did not observe that it was connected to the .
Luca Pacioli named his book Divina proportione (1509) after the ratio; the book, largely plagiarized from Piero della Francesca, explored its properties including its appearance in some of the Platonic solids. Leonardo da Vinci, who illustrated Pacioli's book, called the ratio the sectio aurea ('golden section'). Though it is often said that Pacioli advocated the golden ratio's application to yield pleasing, harmonious proportions, Livio points out that the interpretation has been traced to an error in 1799, and that Pacioli actually advocated the Vitruvius system of rational proportions. Pacioli also saw Catholic religious significance in the ratio, which led to his work's title. 16th-century mathematicians such as Rafael Bombelli solved geometric problems using the ratio.
German mathematician Simon Jacob (d. 1564) noted that consecutive Fibonacci numbers converge to the golden ratio; this was rediscovered by Johannes Kepler in 1608. The first known decimal approximation of the (inverse) golden ratio was stated as "about " in 1597 by Michael Maestlin of the University of Tübingen in a letter to Kepler, his former student. The same year, Kepler wrote to Maestlin of the Kepler triangle, which combines the golden ratio with the Pythagorean theorem. Kepler said of these:
Eighteenth-century mathematicians Abraham de Moivre, Nicolaus I Bernoulli, and Leonhard Euler used a golden ratio-based formula which finds the value of a Fibonacci number based on its placement in the sequence; in 1843, this was rediscovered by Jacques Philippe Marie Binet, for whom it was named "Binet's formula". Martin Ohm first used the German term goldener Schnitt ('golden section') to describe the ratio in 1835. James Sully used the equivalent English term in 1875.
By 1910, inventor Mark Barr began using the Greek alphabet phi () as a symbol for the golden ratio. It has also been represented by tau (), the first letter of the ancient Greek τομή ('cut' or 'section').
The zome construction system, developed by Steve Baer in the late 1960s, is based on the symmetry system of the icosahedron/dodecahedron, and uses the golden ratio ubiquitously. Between 1973 and 1974, Roger Penrose developed Penrose tiling, a pattern related to the golden ratio both in the ratio of areas of its two rhombic tiles and in their relative frequency within the pattern. This gained in interest after Dan Shechtman's Nobel-winning 1982 discovery of with icosahedral symmetry, which were soon afterwards explained through analogies to the Penrose tiling.
If we call the whole and the longer part , then the second statement above becomes
To say that the golden ratio is rational means that is a fraction where and are integers. We may take to be in lowest terms and and to be positive. But if is in lowest terms, then the equally valued is in still lower terms. That is a contradiction that follows from the assumption that is rational.
The golden ratio is a fundamental unit of the quadratic field , sometimes called the golden field. In this field, any element can be written in the form , with rational coefficients and ; such a number has Field norm . Other units, with norm , are the positive and negative powers of . The quadratic integers in this field, which form a ring, are all numbers of the form where and are integers.
As the root of a quadratic polynomial, the golden ratio is a constructible number.
The absolute value of this quantity () corresponds to the length ratio taken in reverse order (shorter segment length over longer segment length, ).
This illustrates the unique property of the golden ratio among positive numbers, that
or its inverse,
The conjugate and the defining quadratic polynomial relationship lead to decimal values that have their fractional part in common with :
The sequence of powers of contains these values , , , ; more generally, any power of is equal to the sum of the two immediately preceding powers:
As a result, one can easily decompose any power of into a multiple of and a constant. The multiple and the constant are always adjacent Fibonacci numbers. This leads to another property of the positive powers of :
If , then:
It is in fact the simplest form of a continued fraction, alongside its reciprocal form:
The convergents of these continued fractions, , , , , , or , , , , , are ratios of successive Fibonacci numbers. The consistently small terms in its continued fraction explain why the approximants converge so slowly. This makes the golden ratio an extreme case of the Hurwitz inequality for Diophantine approximations, which states that for every irrational , there are infinitely many distinct fractions such that,
This means that the constant cannot be improved without excluding the golden ratio. It is, in fact, the smallest number that must be excluded to generate closer approximations of such Lagrange numbers.
A Nested radical form for can be obtained from , yielding:
The sequence of Lucas numbers (not to be confused with the generalized , of which this is part) is like the Fibonacci sequence, in that each term is the sum of the previous two terms and , however instead starts with as the 0th and 1st terms and :
Exceptionally, the golden ratio is equal to the limit of the ratios of successive terms in the Fibonacci sequence and sequence of Lucas numbers:
In other words, if a Fibonacci and Lucas number is divided by its immediate predecessor in the sequence, the quotient approximates . For example,
These approximations are alternately lower and higher than , and converge to as the Fibonacci and Lucas numbers increase.
Closed-form expressions for the Fibonacci and Lucas sequences that involve the golden ratio are:
Combining both formulas above, one obtains a formula for that involves both Fibonacci and Lucas numbers:
Between Fibonacci and Lucas numbers one can deduce , which simplifies to express the limit of the quotient of Lucas numbers by Fibonacci numbers as equal to the square root of five:
Indeed, much stronger statements are true:
Successive powers of the golden ratio obey the Fibonacci recurrence, .
The reduction to a linear expression can be accomplished in one step by using:
This identity allows any polynomial in to be reduced to a linear expression, as in:
Consecutive Fibonacci numbers can also be used to obtain a similar formula for the golden ratio, here by infinite summation:
In particular, the powers of themselves round to Lucas numbers (in order, except for the first two powers, and , are in reverse order):
and so forth. The Lucas numbers also directly generate powers of the golden ratio; for :
Rooted in their interconnecting relationship with the golden ratio is the notion that the sum of third consecutive Fibonacci numbers equals a Lucas number, that is ; and, importantly, that .
Both the Fibonacci sequence and the sequence of Lucas numbers can be used to generate approximate forms of the golden spiral (which is a special form of a logarithmic spiral) using quarter-circles with radii from these sequences, differing only slightly from the true golden logarithmic spiral. Fibonacci spiral is generally the term used for spirals that approximate golden spirals using Fibonacci number-sequenced squares and quarter-circles.
Dividing by exterior division
Both of the above displayed different produce geometric constructions that determine two aligned where the ratio of the longer one to the shorter one is the golden ratio.
This angle occurs in phyllotaxis as the optimal spacing of leaf shoots around plant stems so that successive leaves do not block sunlight from the leaves below them.
In a regular pentagon the ratio of a diagonal to a side is the golden ratio, while intersecting diagonals section each other in the golden ratio. The golden ratio properties of a regular pentagon can be confirmed by applying Ptolemy's theorem to the quadrilateral formed by removing one of its vertices. If the quadrilateral's long edge and diagonals are , and short edges are , then Ptolemy's theorem gives . Dividing both sides by yields (see above),
The diagonal segments of a pentagon form a pentagram, or five-pointed star polygon, whose geometry is quintessentially described by . Primarily, each intersection of edges sections other edges in the golden ratio. The ratio of the length of the shorter segment to the segment bounded by the two intersecting edges (that is, a side of the inverted pentagon in the pentagram's center) is , as the four-color illustration shows.
Pentagonal and pentagrammic geometry permits us to calculate the following values for :
Bisecting one of the base angles of the golden triangle subdivides it into a smaller golden triangle and a golden gnomon. Analogously, any acute isosceles triangle can be subdivided into a similar triangle and an obtuse isosceles triangle, but the golden triangle is the only one for which this subdivision is made by the angle bisector, because it is the only isosceles triangle whose base angle is twice its apex angle. The angle bisector of the golden triangle subdivides the side that it meets in the golden ratio, and the areas of the two subdivided pieces are also in the golden ratio.
If the apex angle of the golden gnomon is Angle trisection, the trisector again subdivides it into a smaller golden gnomon and a golden triangle. The trisector subdivides the base in the golden ratio, and the two pieces have areas in the golden ratio. Analogously, any obtuse triangle can be subdivided into a similar triangle and an acute isosceles triangle, but the golden gnomon is the only one for which this subdivision is made by the angle trisector, because it is the only isosceles triangle whose apex angle is three times its base angle.
Among isosceles triangles, the ratio of inradius to side length is maximized for the triangle formed by two reflected copies of the Kepler triangle, sharing the longer of their two legs. The same isosceles triangle maximizes the ratio of the radius of a semicircle on its base to its perimeter.
For a Kepler triangle with smallest side length , the area and acute angle are:
The golden ratio proportions the adjacent side lengths of a golden rectangle in ratio. Stacking golden rectangles produces golden rectangles anew, and removing or adding squares from golden rectangles leaves rectangles still proportioned in ratio. They can be generated by golden spirals, through successive Fibonacci and Lucas number-sized squares and quarter circles. They feature prominently in the icosahedron as well as in the dodecahedron (see section below for more detail).
The lengths of its short and long diagonals and , in terms of side length are:
Its area, in terms of and :
Golden rhombi form the faces of the rhombic triacontahedron, the two golden rhombohedra, the Bilinski dodecahedron, and the rhombic hexecontahedron.
Not all logarithmic spirals are connected to the golden ratio, and not all spirals that are connected to the golden ratio are the same shape as the golden spiral. For instance, a different logarithmic spiral, encasing a nested sequence of golden isosceles triangles, grows by the golden ratio for each that it turns, instead of the turning angle of the golden spiral. Another variation, called the "better golden spiral", grows by the golden ratio for each half-turn, rather than each quarter-turn.
The regular dodecahedron and its dual polyhedron the icosahedron are whose dimensions are related to the golden ratio. A dodecahedron has regular pentagonal faces, whereas an icosahedron has equilateral triangles; both have edges.
For a dodecahedron of side , the radius of a circumscribed and inscribed sphere, and Midsphere are (, , and , respectively):
While for an icosahedron of side , the radius of a circumscribed and inscribed sphere, and Midsphere are:
The volume and surface area of the dodecahedron can be expressed in terms of :
As well as for the icosahedron:
These geometric values can be calculated from their Cartesian coordinates, which also can be given using formulas involving . The coordinates of the dodecahedron are displayed on the figure to the right, while those of the icosahedron are:
Sets of three golden rectangles intersect inside dodecahedra and icosahedra, forming Borromean rings. In dodecahedra, pairs of opposing vertices in golden rectangles meet the centers of pentagonal faces, and in icosahedra, they meet at its vertices. The three golden rectangles together contain all vertices of the icosahedron, or equivalently, intersect the centers of all of the dodecahedron's faces.
A cube can be Inscribed figure in a regular dodecahedron, with some of the diagonals of the pentagonal faces of the dodecahedron serving as the cube's edges; therefore, the edge lengths are in the golden ratio. The cube's volume is times that of the dodecahedron's. In fact, golden rectangles inside a dodecahedron are in golden proportions to an inscribed cube, such that edges of a cube and the long edges of a golden rectangle are themselves in ratio. On the other hand, the octahedron, which is the dual polyhedron of the cube, can inscribe an icosahedron, such that an icosahedron's vertices touch the edges of an octahedron at points that divide its edges in golden ratio.
In the complex plane, the fifth roots of unity (for an integer ) satisfying are the vertices of a pentagon. They do not form a ring of quadratic integers, however the sum of any fifth root of unity and its complex conjugate, , is a quadratic integer, an element of . Specifically,
This also holds for the remaining tenth roots of unity satisfying ,
For the gamma function , the only solutions to the equation are and .
When the golden ratio is used as the base of a numeral system (see golden ratio base, sometimes dubbed phinary or -nary), quadratic integers in the ring – that is, numbers of the form for and in – have terminating representations, but rational fractions have non-terminating representations.
The golden ratio also appears in hyperbolic geometry, as the maximum distance from a point on one side of an ideal triangle to the closer of the other two sides: this distance, the side length of the equilateral triangle formed by the points of tangency of a circle inscribed within the ideal triangle, is .
The golden ratio appears in the theory of Modular form as well. For let
Then
and
where and in the continued fraction should be evaluated as . The function is invariant under , a congruence subgroup of the modular group. Also for positive real numbers and such that
Le Corbusier explicitly used the golden ratio in his Modulor system for the scale of architectural proportion. He saw this system as a continuation of the long tradition of Vitruvius, Leonardo da Vinci's "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.
In addition to the golden ratio, Le Corbusier based the system on anthropometry, Fibonacci numbers, and the double unit. He took suggestion of the golden ratio in human proportions to an extreme: he sectioned his model human body's 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. Le Corbusier's 1927 Villa Stein in Garches exemplified the Modulor system's application. The villa's rectangular ground plan, elevation, and inner structure closely approximate golden rectangles.
Another Swiss architect, Mario Botta, bases 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, the golden ratio is the proportion between the central section and the side sections of the house.
Salvador Dalí, influenced by the works of Matila Ghyka, explicitly used the golden ratio in his masterpiece, The Sacrament of the Last Supper. The dimensions of the canvas are a golden rectangle. A huge dodecahedron, in perspective so that edges appear in golden ratio to one another, is suspended above and behind Jesus and dominates the composition.
A statistical study on 565 works of art of different great painters, performed in 1999, found that these artists had not used the golden ratio in the size of their canvases. The study concluded that the average ratio of the two sides of the paintings studied is , with averages for individual artists ranging from (Francisco Goya) to (Giovanni Bellini). On the other hand, Pablo Tosto listed over 350 works by well-known artists, including more than 100 which have canvasses with golden rectangle and proportions, and others with proportions like , , , and .
According to some sources, the golden ratio is used in everyday design, for example in the proportions of playing cards, postcards, posters, light switch plates, and widescreen televisions.
The musicologist Roy Howat has observed that the formal boundaries of Debussy's La Mer correspond exactly to the golden section. Trezise finds the intrinsic evidence "remarkable", but cautions that no written or reported evidence suggests that Debussy consciously sought such proportions.
Music theorists including Hans Zender and Heinz Bohlen have experimented with the 833 cents scale, a musical scale based on using the golden ratio as its fundamental musical interval. When measured in cents, a logarithmic scale for musical intervals, the golden ratio is approximately 833.09 cents.
The psychologist Adolf Zeising noted that the golden ratio appeared in phyllotaxis and argued from these patterns in nature that the golden ratio was a universal law. Zeising wrote in 1854 of a universal orthogenesis law of "striving for beauty and completeness in the realms of both nature and art".
However, some have argued that many apparent manifestations of the golden ratio in nature, especially in regard to animal dimensions, are fictitious.
The golden ratio is a critical element to golden-section search as well.
From measurements of 15 temples, 18 monumental tombs, 8 sarcophagi, and 58 grave stelae from the fifth century BC to the second century AD, one researcher concluded that the golden ratio was totally absent from Greek architecture of the classical fifth century BC, and almost absent during the following six centuries.
Later sources like Vitruvius (first century BC) exclusively discuss proportions that can be expressed in whole numbers, i.e. commensurate as opposed to irrational proportions.
Piet Mondrian has been said to have used the golden section extensively in his geometrical paintings, though other experts (including critic Yve-Alain Bois) have discredited these claims.
Relationship to Fibonacci and Lucas numbers
Geometry
Construction
Application examples you can see in the articles Pentagon with a given side length, Decagon with given circumcircle and Decagon with a given side length.
Golden angle
Pentagonal symmetry system
Pentagon and pentagram
Golden triangle and golden gnomon
Penrose tilings
In triangles and quadrilaterals
Odom's construction
Kepler triangle
Golden rectangle
]]
Draw a square. Draw a line from the midpoint of one side of the square to an opposite corner. Use that line as the radius to draw an arc that defines the height of the rectangle. Complete the golden rectangle.
Golden rhombus
Golden spiral
Dodecahedron and icosahedron
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Cartesian coordinates of the dodecahedron :
A nested cube inside the dodecahedron is represented with dotted lines.
Other properties
is a Pisot–Vijayaraghavan number.
Applications and observations
Architecture
Art
Books and design
There was a time when deviations from the truly beautiful page proportions , , and the Golden Section were rare. Many books produced between 1550 and 1770 show these proportions exactly, to within half a millimeter.
Flags
Music
Nature
Physics
Optimization
Disputed observations
Egyptian pyramids
The Parthenon
Modern art
See also
Explanatory footnotes
Citations
Works cited
Further reading
External links
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