The Golden Ratio
One number, hiding everywhere
Take a line and cut it in two, a longer piece and a shorter piece, so that the
whole line is to the longer piece exactly as the longer piece is to the shorter.
There is only one way to do it, and the ratio you get has a name that has echoed through
geometry, art and biology for two and a half thousand years: the golden ratio,
written \varphi (the Greek letter "phi").
Its value is a specific irrational number,
\varphi = \frac{1 + \sqrt{5}}{2} = 1.6180339887\dots
In this lesson we'll pin down where that value comes from, meet the one tidy equation that
\varphi obeys, and watch it turn up in a self-copying rectangle, inside
the humble regular pentagon,
and at the far end of the Fibonacci
sequence. That same five-fold structure is exactly what will later power
Penrose tilings.
The defining cut, and the equation it forces
Call the longer piece 1 and the shorter piece
x, so the whole line is 1 + x. The golden
condition — whole is to longer as longer is to shorter — is
\frac{1 + x}{1} = \frac{1}{x}.
Cross-multiplying gives x(1 + x) = 1, i.e.
x^2 + x - 1 = 0. It is neater, though, to name the ratio itself. If we
set \varphi = 1/x (the long-to-short ratio), the very same condition
becomes the cleanest quadratic in mathematics:
\varphi^2 = \varphi + 1.
In words: squaring \varphi is the same as just adding one to
it. That single identity is the real definition of the golden ratio — everything else in
this lesson is a consequence of it. Rearranged the other way, dividing by
\varphi gives an equally striking twin:
\frac{1}{\varphi} = \varphi - 1 = 0.6180339887\dots
So \varphi is the one number whose reciprocal is itself minus one —
its decimal tail 0.618\dots is literally
\varphi with the 1 knocked off the front.
-
\varphi = \dfrac{1 + \sqrt{5}}{2} \approx 1.6180339887, the ratio
of the whole to the larger part when a segment is cut so that
\text{whole} : \text{larger} = \text{larger} : \text{smaller}.
-
It is the positive root of x^2 = x + 1, so
\varphi^2 = \varphi + 1.
-
Equivalently \dfrac{1}{\varphi} = \varphi - 1: its reciprocal is
itself minus one.
-
In a regular pentagon, \dfrac{\text{diagonal}}{\text{side}} = \varphi,
and ratios of consecutive Fibonacci numbers close in on
\varphi.
Worked example 1 — solve the equation, then check it
Where does (1+\sqrt5)/2 actually come from? Solve
x^2 = x + 1, i.e. x^2 - x - 1 = 0, with the
quadratic formula (a = 1,\ b = -1,\ c = -1):
x = \frac{-b \pm \sqrt{b^2 - 4ac}}{2a} = \frac{1 \pm \sqrt{1 + 4}}{2} = \frac{1 \pm \sqrt{5}}{2}.
The two roots are \tfrac{1+\sqrt5}{2} \approx 1.618 and
\tfrac{1-\sqrt5}{2} \approx -0.618. A ratio of lengths must be
positive, so \varphi = \tfrac{1+\sqrt5}{2}. (The negative root is its
own curiosity — it equals -1/\varphi.)
Now verify the identity numerically, which is the fastest way to feel that it is true.
With \varphi \approx 1.618:
\varphi^2 \approx 1.618^2 = 2.618\dots \qquad \text{and} \qquad \varphi + 1 \approx 1.618 + 1 = 2.618.
They match — squaring \varphi and adding one to
\varphi land on the same
2.618\dots Notice the decimals never change:
\dots 618 in \varphi,
\varphi^2 and 1/\varphi alike.
Worked example 2 — Fibonacci ratios home in on φ
Take the Fibonacci
numbers 1, 1, 2, 3, 5, 8, 13, 21, 34, \dots (each the sum
of the previous two, first studied in Europe by
Fibonacci) and divide each one by the term
before it:
\tfrac{1}{1}=1,\ \tfrac{2}{1}=2,\ \tfrac{3}{2}=1.5,\ \tfrac{5}{3}\approx1.667,\ \tfrac{8}{5}=1.6,\ \tfrac{13}{8}=1.625,\ \tfrac{21}{13}\approx1.615,\ \tfrac{34}{21}\approx1.619,\ \dots
The ratios bounce up and down but the swings shrink, closing in on
1.6180339887\dots = \varphi. There's a clean reason. If the ratio
settles to some value r, then because each term is the sum of the two
before it, r must satisfy
r = 1 + \frac{1}{r} \quad\Longrightarrow\quad r^2 = r + 1.
That's \varphi's equation again — so the only positive limit the ratios
can approach is \varphi itself. The Fibonacci numbers don't
"contain" the golden ratio by coincidence; they are forced towards it by the same
x^2 = x + 1.
Worked example 3 — φ inside the pentagon
Draw a regular pentagon and
one of its diagonals (a line joining two non-adjacent corners). Measure the
diagonal, measure a side, and divide:
\frac{\text{diagonal}}{\text{side}} = \varphi = 1.618\dots
exactly, for every regular pentagon. Draw all five diagonals and they trace a
five-pointed star, the pentagram — and it is riddled with
\varphi. Every diagonal is cut by the others into pieces whose lengths
are in golden ratio, and the small inner pentagon the diagonals enclose is a shrunk copy of the
outer one, smaller by a factor of \varphi^2. So a pentagram is a
golden-ratio machine: five-fold symmetry and \varphi are two faces of
the same thing. Hold onto that — it is precisely why
Penrose tilings,
built on five-fold shapes, are steeped in \varphi.
The golden rectangle that copies itself
A golden rectangle has its long and short sides in the ratio
\varphi : 1. It has a magical property that follows straight from
1/\varphi = \varphi - 1: slice off the largest square you can,
and what remains is another golden rectangle — the same shape, just smaller. That leftover
is called the gnomon. You can peel a square off that one too, and off the next,
forever — the rectangle contains a shrinking copy of itself all the way down. Trace a quarter-circle
through each square and you get the famous golden spiral. Step through it.
The simplest continued fraction there is
The identity \varphi = 1 + \tfrac{1}{\varphi} can be fed into itself.
Replace the \varphi on the bottom with
1 + \tfrac{1}{\varphi} again, and again, forever:
\varphi = 1 + \cfrac{1}{1 + \cfrac{1}{1 + \cfrac{1}{1 + \ddots}}}
Every number in that tower is a 1. Written in the shorthand of
continued
fractions, \varphi = [1; 1, 1, 1, \dots] — all ones, the
simplest continued fraction any number can have. Cutting it off early gives exactly the Fibonacci
ratios \tfrac11, \tfrac21, \tfrac32, \tfrac53, \tfrac85, \dots from
Worked example 2.
Here is the surprising payoff. Big numbers in a continued fraction mean a number is easy
to approximate by a simple fraction (that's why \pi \approx \tfrac{22}{7}
is so good — a 7 shows up early in
\pi's expansion). Because \varphi's are all
the smallest possible value, 1, it is the number that fractions
approximate worst. That earns \varphi the title of the
"most irrational" number — the hardest of all to pin down with a ratio.
A growing sunflower adds its seeds one at a time, each turned by a fixed fraction of a full circle
from the last. If that fraction were a simple ratio — say 1/2 or
3/8 of a turn — the seeds would line up in a few straight spokes and
leave big wasteful gaps. To pack seeds evenly the plant wants a turn that never settles
into a repeating pattern, i.e. the turn hardest to approximate by any fraction.
That turn is 1/\varphi of a circle — about
137.5^\circ, the "golden angle." Because
\varphi is the most irrational number, this angle spaces new seeds as
far as possible from all the old ones, and the seed-head fills with those beautiful interlocking
spirals — whose counts, sure enough, are Fibonacci numbers. Pinecones, pineapples, and the leaves
spiralling up a stem all play the same trick. Nature reaches for
\varphi not for beauty but for the most efficient packing there is.
You will hear that \varphi is a mystical key to beauty — that the
Parthenon, the Mona Lisa, credit cards and the "ideal" human face are all secretly built on the
golden ratio. Most of that is folklore: the measurements are cherry-picked, the
rectangles fitted after the fact, and controlled studies find no special preference for
golden proportions. \varphi is not magic and not a universal
law of aesthetics.
Its real mathematical significance is concrete and provable: the algebraic
identity \varphi^2 = \varphi + 1 and the all-ones continued fraction
[1; 1, 1, \dots] that makes it the most irrational number. That
is why \varphi genuinely appears where it does — in five-fold symmetry,
in optimal seed-packing, and in Penrose tilings — not because of any mysticism. Admire the honest
mathematics, and be sceptical of the gallery-brochure version.