![]() The Fibonacci sequence is named after a 13th-century Italian mathematician who first noticed the pattern while pondering rabbit reproduction rates. Try a few with pen and paper if you don’t believe it. Because the sequence starts with one odd and one even number, two-thirds of the numbers will be odd. The series continues with 13, 21, 34, and 55, which you’ll see a lot if daisies or asters are your flower of choice. Then add 2 and 3 to get 5, add 3 and 5 to get 8, and so on. In pure mathematics, the sequence starts with 0 and 1, but I’ve never seen a flower with 0 petals, so we can start with the next pair, 1 and 2. These numbers form a mathematically significant series called the Fibonacci sequence, which is formed by adding two successive numbers to get to the next. In fact, if you survey a wide range of flowers, you’ll find that not only do the majority have an odd number of petals, but that certain numbers tend to come up more often than others numbers like 5 and 13. Empirically speaking, this means that more often than not, flowers have an odd number of petals. This could only mean one thing (besides that you’re worthy of adoration). If you’re a hopeless romantic who repeats this ritual year after year, you will notice a happy coincidence - more often than not, he or she loves you. You might find yourself plucking petals off those flowers, trying to determine if he loves you or she loves you not. It’s summer, and wildflowers are dotting the hillsides and forests. The arrangement of the seeds follows the shape of the spiral with a slight rotation. This picture is a good example for its appearing in sunflowers. We can see the Fibonacci spiral many times in the nature, both in flora and fauna. Birthday Parties at MNHC with Animal Wonders.Furthermore, it is worth mentioning that it was not on this side of the globe that the Fibonacci sequence was written for the first time, it had already appeared in a book on metrics written by the Indian mathematician Pingala, between 450 and 200 BC, demonstrating that the sources of beauty and wisdom go beyond the European cradle. However, it is a fact that the golden ratio was of fundamental importance for the cultural sector and in the construction of an aesthetic sense, especially in the West. In short, it is a debate that will remain constant, after all, scientific data are not enough to translate what is beautiful - this notion being subjective and created according to a person's own references and cultures. According to Keith Devlin, a British mathematician and expert on the subject, all theories that cover aesthetic appeals according to this constant exist only because we humans are good at recognizing patterns and we ignore everything that contradicts them. Furthermore, many mathematicians and designers already question the fact that the golden ratio is a universal formula for aesthetic beauty. Nowadays, fortunately, the discussion about the standardization and universalization of the human body is much more advanced and does not just surrender to mathematical factors. The higher the numbers chosen, the closer the result is to the golden ratio. After all, when dividing a number from the Fibonacci sequence by its previous one, the result will be closer and closer to 1.618. This constant creates a very close relationship with the golden number (1.61803399), called the golden ratio, which mathematically represents the "perfection of nature". In its content, the fundamental thing is to know that whatever the number in the sequence is, it is the result of the sum of the two previous ones. Leonardo of Pisa, better known as Fibonacci, wrote his series of numbers (1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233.) to solve a hypothetical problem of breeding rabbits in your Calculation Book. But, after all, how does this sequence relate to architecture? The famous sequence of numbers became known as the "secret code of nature" and can be seen in the natural world in several cases. One of the most famous series of numbers in history, the Fibonacci sequence was published by Leonardo of Pisa in 1202 in the " Liber Abaci", the "Book of Calculus".
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