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Geometry in Nature: The DNA of Design
DO YOU KNOW what a pineapple, the space shuttle and your finger have in common?
They all have proportions based on the FIBONACCI SEQUENCE: 1, 1, 2, 3, 5, 8, 13, 21,
34, 55, 89, 144...etc., whereby adding consecutive numbers equals the third, and
dividing adjacent numbers produces the 62% GOLDEN RATIO. In a beautiful
PINEAPPLE, counting the seedpods in a clockwise direction, then counter-clockwise,
obtains differing amounts - usually 11 and 17, consistent with the Golden Mean. The
SHUTTLE'S wing-span to length ratio is nearly ‘Golden’. Measure your finger, the first
digit is 2/3 of the second digit; adding them together equals the third digit (2+3=5),
which are Fibonacci numbers.
LEONARDO DA VINCI’S drawing of a man outstretched within a circle is the familiar
icon. In Michelangelo's 'DAVID', the floor to navel distance is 62% of his height. The
enduring PARTHENON'S columns are also 62% of the temple’s height. A survey
taken 130 years ago compared rectangular shapes, with the GOLDEN RECTANGLE
width being 62% of its length preferred by 75% of the people. Within the Golden
Proportion is a square with another Golden Rectangle turned the opposite direction.
AUDREY HEPBURN'S beauty is the square delineated by the width of her mouth to the
bottom of her eye.
DO YOU KNOW what a pineapple, the space shuttle and your finger have in common?
They all have proportions based on the FIBONACCI SEQUENCE: 1, 1, 2, 3, 5, 8, 13, 21,
34, 55, 89, 144...etc., whereby adding consecutive numbers equals the third, and
dividing adjacent numbers produces the 62% GOLDEN RATIO. In a beautiful
PINEAPPLE, counting the seedpods in a clockwise direction, then counter-clockwise,
obtains differing amounts - usually 11 and 17, consistent with the Golden Mean. The
SHUTTLE'S wing-span to length ratio is nearly ‘Golden’. Measure your finger, the first
digit is 2/3 of the second digit; adding them together equals the third digit (2+3=5),
which are Fibonacci numbers.
LEONARDO DA VINCI’S drawing of a man outstretched within a circle is the familiar
icon. In Michelangelo's 'DAVID', the floor to navel distance is 62% of his height. The
enduring PARTHENON'S columns are also 62% of the temple’s height. A survey
taken 130 years ago compared rectangular shapes, with the GOLDEN RECTANGLE
width being 62% of its length preferred by 75% of the people. Within the Golden
Proportion is a square with another Golden Rectangle turned the opposite direction.
AUDREY HEPBURN'S beauty is the square delineated by the width of her mouth to the
bottom of her eye.
THE ORIGINAL DEFINITION of symmetry was the balance of harmony and proportion
based on weight or mass. A ballerina in the arabesque position is balanced at the
center of gravity of the sacrum, upheld by the tip of her toe and one outstretched leg;
she moves and the beauty of that moment is gone. The modern definition has
regressed into the idea of axial (or mirror) symmetry - a vertical line with two items
equidistant from each side. This works with small objects or only minimal time to
understand the design. On a large scale it is monotonous. Dynamic Symmetry's
greatest values produce equilibrium with the vitality and movement of a see-saw.
RHYTHM is created by contrasts. If all musical notes are the same, we become bored
and cease listening. Unity does not mean uniformity as in families with differing
personalities. Cabinets in a row, like soldiers, are static. Going from point A to point B,
why see the same thing? Symmetry cannot be obvious.
WE LOOK for clues to make order out of chaos. Painters JAN VERMEER and
GEORGES SEURAT skillfully position precisely sized objects around the canvas to
direct the scene. The Cathedral of NOTRE DAME and TAJ MAHAL align key
architectural elements similar to stars in a constellation.
STONEHENGE not only clocks the seasons, it is arranged using Classical Proportion.
The ultimate presence of DYNAMIC SYMMETRY is the fascinating spiral of the
SEASHELL, which also emulates the rotation of the GALAXIES in the universe.
Conceptualizing a design for the Earth and beyond is easiest following just one plan
from microscopic to telescopic. With the harmonious relationship of patterns so
prevalent, there can be no doubt, nature inspires the “geometry of art".
based on weight or mass. A ballerina in the arabesque position is balanced at the
center of gravity of the sacrum, upheld by the tip of her toe and one outstretched leg;
she moves and the beauty of that moment is gone. The modern definition has
regressed into the idea of axial (or mirror) symmetry - a vertical line with two items
equidistant from each side. This works with small objects or only minimal time to
understand the design. On a large scale it is monotonous. Dynamic Symmetry's
greatest values produce equilibrium with the vitality and movement of a see-saw.
RHYTHM is created by contrasts. If all musical notes are the same, we become bored
and cease listening. Unity does not mean uniformity as in families with differing
personalities. Cabinets in a row, like soldiers, are static. Going from point A to point B,
why see the same thing? Symmetry cannot be obvious.
WE LOOK for clues to make order out of chaos. Painters JAN VERMEER and
GEORGES SEURAT skillfully position precisely sized objects around the canvas to
direct the scene. The Cathedral of NOTRE DAME and TAJ MAHAL align key
architectural elements similar to stars in a constellation.
STONEHENGE not only clocks the seasons, it is arranged using Classical Proportion.
The ultimate presence of DYNAMIC SYMMETRY is the fascinating spiral of the
SEASHELL, which also emulates the rotation of the GALAXIES in the universe.
Conceptualizing a design for the Earth and beyond is easiest following just one plan
from microscopic to telescopic. With the harmonious relationship of patterns so
prevalent, there can be no doubt, nature inspires the “geometry of art".
DYNAMIC SYMMETRY
| ROSENHAUS DESIGN GROUP Decoration through Innovation The Cure for the Common Kitchen Rosenhausdesign@aol.com MARK ROSENHAUS, CKD |