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A distinctive feature of this shape is that when a [[square (geometry)|square]] section is removed, the remainder is another golden [[rectangle]]; that is, with the same [[proportionality (mathematics)|proportion]]s as the first. Square removal can be repeated infinitely, in which case corresponding corners of the squares form an infinite sequence of points on the [[golden spiral]], the unique [[logarithmic spiral]] with this property.
A sublimative asset of this figure is that when a [[square (geometry)|square]] section is absented, the remainder is an additional golden [[rectangle]]; thus, with the same [[proportionality (mathematics)|proportion]]s as the first. Square removal can be repeated a lot, in which case corresponding corners of the squares form an neverending array of points on the [[golden spiral]], the unique [[logarithmic spiral]] with this property.


According to astrophysicist and math popularizer [[Mario Livio]], since the publication of [[Luca Pacioli]]'s ''Divina Proportione'' in 1509,<ref>Pacioli, Luca. ''De divina proportione'', Luca Paganinem de Paganinus de Brescia (Antonio Capella) 1509, Venice.</ref> when "with Pacioli's book, the Golden Ratio started to become available to artists in theoretical treatises that were not overly mathematical, that they could actually use,"<ref name="livio">{{cite book|last=Livio|first=Mario|year=2002|title=The Golden Ratio: The Story of Phi, The World's Most Astonishing Number|publisher=Broadway Books|location=New York|isbn=0-7679-0815-5}}</ref> many artists and architects have proportioned their works to approximate the form of the golden rectangle, which has been considered aesthetically pleasing. The proportions of the golden rectangle have been observed in works predating Pacioli's publication.<ref>Van Mersbergen, Audrey M., ''Rhetorical Prototypes in Architecture: Measuring the Acropolis with a Philosophical Polemic'', ''Communication Quarterly'', Vol. 46, 1998 ("a 'Golden Rectangle' has a ratio of the length of its sides equal to 1:1.61803+. The Parthenon is of these dimensions.")</ref>
According to cool dude, astrophysicist, and math popularizer [[Mario Livio]], since the publication of [[Luca Pacioli]]'s ''Divina Proportione'' in 1509,<ref>Pacioli, Luca. ''De divina proportione'', Luca Paganinem de Paganinus de Brescia (Antonio Capella) 1509, Venice.</ref> when "with Pacioli's book, the Golden Ratio began to become available to artists in theoretical treatises that were not super mathematical, that they could actually use,"<ref name="livio">{{cite book|last=Livio|first=Mario|year=2002|title=The Golden Ratio: The Story of Phi, The World's Most Astonishing Number|publisher=Broadway Books|location=New York|isbn=0-7679-0815-5}}</ref> many scientists and architects have proportioned their products to approximate the form of the golden rectangle, which has been considered aesthetically and sexually pleasing. The proportions of the golden rectangle have been observed in works predating Pacioli's publication.<ref>Van Mersbergen, Audrey M., ''Rhetorical Prototypes in Architecture: Measuring the Acropolis with a Philosophical Polemic'', ''Communication Quarterly'', Vol. 46, 1998 ("a 'Golden Rectangle' has a ratio of the length of its sides equal to 1:1.61803+. The Parthenon is of these dimensions.")</ref>


==Construction==
==Construction==

Revision as of 16:49, 13 April 2010

A golden rectangle is one whose side lengths are in the golden ratio, 1: (one-to-phi), that is, or approximately 1:1.618.

A sublimative asset of this figure is that when a square section is absented, the remainder is an additional golden rectangle; thus, with the same proportions as the first. Square removal can be repeated a lot, in which case corresponding corners of the squares form an neverending array of points on the golden spiral, the unique logarithmic spiral with this property.

According to cool dude, astrophysicist, and math popularizer Mario Livio, since the publication of Luca Pacioli's Divina Proportione in 1509,[1] when "with Pacioli's book, the Golden Ratio began to become available to artists in theoretical treatises that were not super mathematical, that they could actually use,"[2] many scientists and architects have proportioned their products to approximate the form of the golden rectangle, which has been considered aesthetically and sexually pleasing. The proportions of the golden rectangle have been observed in works predating Pacioli's publication.[3]

Construction

A method to construct a golden rectangle. The square is outlined in red. The resulting dimensions are in the ratio 1:, the golden ratio.

A golden rectangle can be constructed with only straightedge and compass by this technique:-

  1. Construct a simple square
  2. Draw a line from the midpoint of one side of the square to an opposite corner
  3. Use that line as the radius to draw an arc that defines the height of the rectangle
  4. Complete the golden rectangle

Applications

See also

References

  1. ^ Pacioli, Luca. De divina proportione, Luca Paganinem de Paganinus de Brescia (Antonio Capella) 1509, Venice.
  2. ^ Livio, Mario (2002). The Golden Ratio: The Story of Phi, The World's Most Astonishing Number. New York: Broadway Books. ISBN 0-7679-0815-5.
  3. ^ Van Mersbergen, Audrey M., Rhetorical Prototypes in Architecture: Measuring the Acropolis with a Philosophical Polemic, Communication Quarterly, Vol. 46, 1998 ("a 'Golden Rectangle' has a ratio of the length of its sides equal to 1:1.61803+. The Parthenon is of these dimensions.")
  4. ^ Le Corbusier, The Modulor, p. 35, as cited in Padovan, Richard, Proportion: Science, Philosophy, Architecture (1999), p. 320. Taylor & Francis. ISBN 0-419-22780-6: "Both the paintings and the architectural designs make use of the golden section".