The golden ratio is about 1.618, and represented by the Greek letter phi.
The golden ratio is sometimes called the "divine proportion," because of its frequency in the natural world.
2. RATIO
GOLDEN
The golden ratio is
about 1.618, and
represented by the
Greek letter phi. ...
The golden ratio is
sometimes called
the "divine
proportion,"
because of its
frequency in the
natural world.
6. Throughout history,
The ratio for length to width of rectangles
of 1.61803 39887 49894 84820
has been considered the most pleasing to
the eye.
This ratio was named the golden ratio by
the Greeks. In the world of mathematics,
the numeric value is called "phi", named
for the Greek sculptor Phidias
7. It wasn’t until the 1900’s that American mathematician Mark Barr
used the Greek letter phi (Φ) to designate this proportion. This
appeared in the “The Curves of Life” (page 420) in 1914 by
Theodore Andrea Cook . By this time this ubiquitous proportion
was known as the golden mean, golden section and golden ratio
as well as the Divine proportion. Phi is the
first letter of Phidias (1), who used the golden ratio in his
sculptures, as well as the Greek equivalent to the letter “F,” the first
letter of Fibonacci. Phi is also the 21st letter of the Greek alphabet,
and 21 is one of numbers in the Fibonacci series.
9. Golden ratios in the human face are:
• Length of face / width of face,
• Distance between the lips and where the eyebrows meet / length of nose,
• Length of face / distance between tip of jaw and where the eyebrows meet,
• Length of mouth / width of nose,
• Width of nose / distance between nostrils,
• Distance between pupils / distance between eyebrows.
10. MONa LISA, leonardo da vinci
The Mona Lisa has many golden
rectangles throughout the painting.
By drawing a rectangle around her
face, we can see that it is indeed
golden. If we divide that rectangle
with a line drawn across her eyes, we
get another golden rectangle,
meaning that the proportion of her
head length to her eyes is golden.
There are other golden rectangles
that can be drawn on the rest of her
body, like from her neck to the top of
her hands.
14. The drawing is based on the correlations of ideal human proportions
with geometry described by the ancient Roman architect Vitruvius in
Book III of his treatise De Architectura.
Vitruvius described the human figure as being the principal source of
proportion among the Classical orders of architecture. Vitruvius
determined that the ideal body should be eight heads high. Leonardo’s
drawing is traditionally named in honor of the architect.
This image demonstrates the blend of art and science during the
Renaissance and provides the perfect example of Leonardo’s deep
understanding of proportion
15. SACRED GEOMETRY
The sacred mean rules can be seen in the ratios of body
parts throughout the human body. Man reflects these
principles in a language of sacred geometry
18. The modularity
prevented the freedom
of larger spaces.
Rather, Le Corbusier
chose to stick with the
smaller proportions
and repeat the rooms
over and over again.
19. Mies Van der Rohe had a
different approach when it
came to proportions in design.
He was more concerned about
the proportions of the space
supporting the functions of the
space.
20. “Breathtaking Proportions – The ‘Golden Ratio’ sits at the heart of every Aston Martin.
Balanced from any angle, each exterior line of Rapide S works in concert and every
proportion is precisely measured to create a lithe, pure form. Our engineering follows the
same principle. A near perfect weight distribution ensures Rapide S is balanced in form and
balanced in function.”