Surigao State College of Technology

College of Education

Department of Education

The Nature of Mathematics: Mathematical Explanations in the Patterns in Nature

In Partial Fulfillment of the Requirements for (course subject code) Mathematics in the
Modern World

Submitted by:

Name

Submitted to:

Name of professor (with proper address, like Phd, Doc. Mgs)

August 2023
 TABLE OF CONTENTS

ABSTRACT........................................................................................................................................................
CHAPTER I: Introduction.................................................................................................................................
CHAPTER II: Methodology...............................................................................................................................
Research Design..........................................................................................................................................
Data Gathering Procedure............................................................................................................................
CHAPTER III: Results and Discussion...........................................................................................................
FIBONACCI SEQUENCE.............................................................................................................................
GOLDEN RATIO..........................................................................................................................................
TESSELLATIONS........................................................................................................................................
FRACTALS...................................................................................................................................................
NUMBER PATTERNS.................................................................................................................................
References........................................................................................................................................................
 ABSTRACT

The world is full of chaos and yet it seems amidst of the disorderly the nature
possess, a balance can be found through the ubiquitous repetitive patterns in nature.
Look closely at the leaves for patterns using a magnifying glass or just a loop of
string to frame and focus. Even the crystalline tear salt contains minute pattern
structures. These patterns offer a feeling of tranquility and comprehension, but also
arouse the curiosity the human beings had always has. Hence, studies has
introduce that the redundant patterns in the nature has a mathematical explanation.
This paper discusses six of the said patterns namely Fibonacci sequence, golden
ratio, tessellations, fractals, hexagons and number pattern.

KEYWORDS: Fibonacci sequence, golden ratio, tessellations, fractals and number

patterns.
 CHAPTER I
INTRODUCTION

Philosophers throughout the history, has contributed to the formation of the

body of knowledge and practice, otherwise known as mathematics. It provides us,
human beings, a tool in analyzing patterns, measures relationships, and make future
predictions. The people utilize the world to understand math, and math aids the
people to comprehend the world (Understanding the World Though Math, n.d.).
Mathematics is not just a subject studied in the learning facility; it is an integral part
of the daily lives of individuals. Furthermore, the foundation of many disciplines. Its
application are far-reaching and essential for understanding the world, making
informed decisions, driving innovation across various domains. However, despite
such positive impacts, the subject has been always deemed as challenging.

During 2005, a study has been conducted by Gallup, wherein the author has
ask and interviewed students with the questions revolving around ‘What is the
hardest subject?’ Well, as for the not so surprising result, the majority of the
respondents answered ‘mathematics’. Why is that? According to an article by Grace
Fleeming (2009), studying mathematics takes patience and persistence. However,
such virtues are a dire task for children, as for the subject, being part of the core
subjects, is introduced and taught starting at the grade level one, in which the
children are approximately between the ages of six to eight. Fleeming (2009), further
explained that learning the subject is akin to building blocks, without proper
foundation learning it at a later time would be a real challenge. Hence, without
dedication and consistency of an individual starting from a young age, understanding
mathematics would be not an easy path. And skipping steps would never work.

However, despite mathematics being a challenging feat, it has greatly

benefited the humanity into further progress. The subject is ubiquitous and has wide
variation and this paper will discuss one of the many aspects it has. This paper
discusses the nature of mathematics and the mathematical explanation behind the
natural occurring patterns in the nature. The author will specifically discuss the
following patterns, Fibonacci sequence, golden ratio, tessellations, fractals and
number pattern.

CHAPTER II
METHODOLOGY

In this chapter, the researcher shall provide the methodology in discussing the
existence of the Fibonacci sequence, golden ratio, tessellations, fractals, hexagons
and number pattern. This study entails a thorough examination of the peculiar
patterns and provide explanation as to how such patterns are related to
mathematics.
Research Design

This paper contains a descriptive approach by using qualitative research to

scrutinize the relationship between the natural occurring patterns to mathematics, in
the case of Fibonacci sequence, golden ratio, tessellations, fractals, hexagons and
number pattern, the six patterns that will be mainly emphasized in this study.
By reviewing and evaluating valid and legitimate literature the researcher shall be
able to investigate the connection of mathematics to the patterns.

Data Gathering Procedure

The paper mainly relies on its discussion and results from secondary sources
and data that are anchored on credible and authentic websites that are registered
and legitimate sources of information. The researchers use references that are
published literary materials such as books, journal articles, case studies, and
scholarly articles authored by scholars and experts in different fields and studies of
mathematics.

CHAPTER III
RESULT AND DISCUSSION

FIBONACCI SEQUENCE

Symmetry has attracted the attention of many researchers because of its

biological significance in pollination processes. But even more fascinating is the
surprising appearance of Fibonacci numbers, and their relative ratios, in arenas far
removed from the logical structure of mathematics: in Nature and in Art, in classical
theories of beauty and proportion. The Fibonacci sequence 1, 1, 2, 3, 5, 8, 13, 21,
34, 55, 89, 144,.. was first discussed in Europe by Leonardo of Pisa (whose
nickname was Fibonacci) in the early 13th century, although the sequence can be
traced back to about 200 BCE in Indian literature. This sequence has produced a
large amount of literature and has connections to many branches of mathematics.

I. FIBONACCI SEQUENCE ON LEAVES

 Fibonacci sequence in real life can be
seen, for example in the leaves of the plant. As it
is arranged in such a way that the maximum
number can spiral around the stem before a new
leaf grows directly above it, this arrangement of
leaves is called phyllotaxis. This ensures that
each leaf receives the maximum amount of
sunlight and catches as much rain as possible.
The Fibonacci numbers occur when counting
both the number of times we go around the
stem, going from leaf to leaf, as well as counting
the leaves we meet until we encounter a leaf
directly above the starting one. If we count in the
other direction, we get a different number of
turns for the same number of leaves. The number of turns in each direction and the
number of leaves met are three consecutive Fibonacci numbers! For example, in the
plant in the previous picture, we have 3 clockwise rotations before we meet a leaf
directly above the first, passing 5 leaves on the way. If we go anti-clockwise, we
need only 2 turns. Notice that 2, 3 and 5 are consecutive Fibonacci numbers. For the
lower plant in the picture, we have 5 clockwise rotations passing 8 leaves, or just 3
rotations in the anti-clockwise direction. This time 3, 5 and 8 are consecutive
numbers in the Fibonacci sequence. We can write this as, for the top plant, 3/5
clockwise rotations per leaf ( or 2/5 for the anticlockwise direction). For the second
plant it is 5/8 of a turn per leaf (or 3/8).

II. FIBONACCI SEQUENCE ON PINE CONES

Another real life application of the Fibonacci

sequence is can be seen in a pine cone. The
number of spirals in either direction is a Fibonacci
number. Scales and bracts are modified leaves, and
the spiral arrangements in pine cones and
pineapples reflect the spiral growth habit of stems.
The more interesting thing is that the number of
spirals found on pine cones are almost always
Fibonacci numbers. Count the number of spirals
going from the center of the cone (where it attached
to the tree) to the outside edge. Count the spirals in
both directions. The resulting numbers are usually two consecutive Fibonacci
numbers (e.g., 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, …).

III. FIBONACCI SEQUENCE ON FLOWER PETALS

On many plants, the number of petals is a

Fibonacci number: buttercups have 5 petals; lilies and
iris have 3 petals; some delphiniums have 8; corn
marigolds have 13 petals; some asters have 21
whereas daisies can be found with 34, 55 or even 89
petals. Sunflowers are most loved by mathematical biologists as this big, beautiful
flower shows the Fibonacci pattern in the most classical way. In sunflowers, the
spirals in the center follow the Fibonacci sequence 1, 2, 3, 5, 8, 13, 21, 34, 55, 89,
144… In fact, there are two series of curves that wind in opposite directions, with
seeds positioned at a certain angle from each other to create a beautiful spiral.
These spirals pack sunflower florets as tightly as possible to maximize their ability to
capture sunlight for the plant.

IV. FIBONACCI SEQUENCE ON SEED HEADS

You can see that the orange "petals"

seem to form spirals curving both to the left
and to the right. At the edge of the picture, if
you count those spiraling to the right as you
go outwards, there are 55 spirals. A little
further towards the center and you can
count 34 spirals. How many spirals go the
other way at these places? You will see that
the pair of numbers (counting spirals in
curing left and curving right) are neighbors
in the Fibonacci series.

The same happens in many seed and flower heads in nature. The reason
seems to be that this arrangement forms an optimal packing of the seeds so that,
no matter how large the seed head, they are uniformly packed at any stage, all the
seeds being the same size, no crowding in the center and not too sparse at the
edges. The spirals are patterns that the eye sees, "curvier" spirals appearing near
the center, flatter spirals (and more of them) appearing the farther out we go.

V. FIBONACCI SEQUENCE IN NAUTILUS SHELL

The last example of Fibonacci sequence

occurring in nature that will be tackled in this paper
is Nautilus shell. The order of the sequence can be
seen in such creatures as a growing snail's shell or
other natural processes, a pattern emerges that
resembles the famous Fibonacci sequence. This
pattern involves the development of chambers in the
snail's shell, where each new chamber's size is the
sum of the sizes of the two previous chambers. This
mirrors the way numbers are generated in the
Fibonacci sequence, where each number is the sum
of the two preceding numbers. This phenomenon is
a form of a "Fibonacci-like sequence" and is
observed in various aspects of nature due to its intriguing mathematical properties
and aesthetic significance.

GOLDEN RATIO

The Golden Ratio finds its origins in the natural world, manifesting in
phenomena like plant structures and snail shells. Its influence has extended to
architectural and artistic endeavors worldwide for many generations. Given its
widespread presence in various facets of society, some experts propose that
humans instinctively perceive one another through the lens of this proportion,
influencing our subconscious perceptions. The golden ratio aligns with the Fibonacci
sequence, a numerical pattern generated by adding the current number to the
preceding one to generate the subsequent number. This sequence initiates as
follows:

1, 1, 2, 3, 5, 8, 13, 21, 34, and so on.

(For instance, 8 + 5 = 13)

The captivating revelation comes in the ratio between consecutive numbers.

The golden ratio, represented by the Greek letter Φ (‘Phi’), is an irrational number
featuring an infinite series of digits. When rounded to the closest ten decimal places,
it appears as '1.6180339887'.

As the sequence advances, the ratio between successive numbers

progressively approaches the golden ratio with enhanced precision.
For instance:

2÷1=2

3 ÷ 2 = 1.5

5 ÷ 3 = 1. 6̅6̅…

Much like the unending nature of the golden ratio, the Fibonacci sequence
also extends indefinitely.

I. GOLDEN RATIO ON SPIRALS

The shape of spirals also seems to follow

the golden ratio. This suggests that geometric
shapes in the universe ultimately succumb to this
mathematical property. ‘A convincing case for
assuming a cosmic character of the golden ratio
can be made based on the ubiquity of logarithmic
spirals,’ the researchers write. ‘Spectacular
examples include the Whirlpool Galaxy (M51), ammonites, the shape of Nautilus
shells, Hurricane Katrina and the distribution of planets, moons, asteroids and rings
in the solar system.’ The researchers say the golden ratio might make up space-time
itself. Some have suggested our universe may have been the only one in the
multiverse theory to have this ratio that allowed it to form.

II. GOLDEN RATIO ON A HUMAN BEING FACE

Cosmetic surgeons possess a natural artistic sensibility, but some of them

also integrate the Golden Ratio into their practice. This technique serves as a tool for
explaining to patients dissatisfied with their facial proportions how they can attain a
harmonious appearance. Several proportions, in line with the principles of the
Golden Ratio, might be discussed, including:

● An aesthetically balanced face tends to be around 1.618 times longer than

its width.
● The measurement from the top
of the nose to the center of the
lips is ideally about 1.618 times
the measurement from the
center of the lips to the chin.
● Traditionally, the distance from
the hairline to the upper eyelid is
in a 1.618 ratio with the length
from the upper eyebrow's top to
the lower eyelid.
● The model's lip volume ratio is
1:1.6, with the lower lip having slightly more volume than the upper lip.
● The length of the ear should be in proportion to the length of the nose.
● The width of an eye should correspond to the distance between the eyes.

III. GOLDEN RATIO IN ARCHITECTURE

The utilization of the golden ratio in

architecture possesses a distinctive characteristic
that sets it apart from other mathematical
sequences – its ability to attain equilibrium and
proportion. This enables architects and designers
to methodically achieve meticulous visual
harmony by employing a systematic approach to
establish proportions that inherently appeal to the
human eye. In the realm of architecture, this ratio
commonly materializes as the golden rectangle –
a shape that can be seamlessly divided into a
square and a rectangle, resulting in a combined
ratio approximately equal to 1:1.61. As both the lengths and widths of these shapes
adhere to the ratio, the concept proposes the feasibility of resizing a structure,
whether larger or smaller, while preserving these inherently balanced proportions
IV. GOLDEN RATIO IN ART

With a proportion represented by the

equation x² = x + 1, the application of the golden
ratio in art fosters a harmonious connection that is
aesthetically pleasing to the observer's perception.
To be more exact, this involves achieving an exact
ratio between various elements within a creation,
an image, or an object.

Undoubtedly, Leonardo da Vinci stands out

as the artist who prominently showcased his affinity
for the golden ratio. Beyond being a scientist,
inventor, sculptor, musician, philosopher, and
painter, da Vinci interwove mathematics into the
realm of art. His expression of this affection for the
golden ratio was exemplified through the creation of
the Vitruvian Man (as shown in the image). This
masterpiece serves as a testament to his
captivation with the golden ratio in artistic endeavors. Through it, he paid tribute to
the proportions of the human body, which he perceived as flawlessly balanced.
Subsequently, da Vinci crafted the Mona Lisa, an iconic artwork recognized globally.
It is unsurprising that the golden ratio also finds its place within the visage of the
Madonna, attesting to its presence in this celebrated piece.

V. GOLDEN RATIO IN APPLE LOGO

Apple Inc. has ingeniously employed

the Golden Ratio in the design of at least two
of its logos. The first of these is the iconic
apple shape, whose apparent simplicity
belies the fact that its curved outline, the
symbolic bite mark, and the divisions of
intersecting circles together shape a leaf.
These circles' diameters are harmoniously
aligned with the proportions of the Fibonacci
sequence.
The second logo, representing iCloud, presents a straightforward cloud motif that
wouldn't seem out of place in a children's storybook. This cloud's curvatures are
crafted by sections of interlocking circles, with their diameters meticulously
determined by the Golden Ratio. Furthermore, this ratio extends to the relationship
between the cloud's height and its width, seamlessly integrating this mathematical
principle into the logo's design.

TESSELLATIONS

A tessellation is a distinctive form of tiling, where geometric shapes are

arranged to cover a two-dimensional space seamlessly, devoid of gaps or overlaps,
and continuing infinitely in all directions. These patterns can comprise a single shape
or a combination of multiple shapes, as long as the design extends indefinitely
without leaving gaps or overlaps. To achieve this, the tessellation pattern should lack
singular points or lines that are exclusive or distinct, differing from all others.
Moreover, the pattern cannot originate from a solitary point or extend outward from a
specific line.

I. TESSELLATIONS IN NATURE

As per the University of Leeds International Textiles Archive (ULITA),

symmetry holds a profound and elegant connection that surpasses the boundaries
between art, science, and mathematics. An illustrative instance of this lies in the
utilization of symmetry within "repeating patterns and tilings." By leveraging the
concept of symmetry, an extensive array of designs and patterns can be crafted,
extensively integrated into various aspects of society.

However, symmetry's influence is not confined solely to human creations; it

permeates the realm of nature as well. According to ULITA, it is evident in diverse
natural phenomena. Symmetry surfaces in the symmetrical contours of flowers, the
hexagonal configuration of beehives, and the spiraling arrangement of pine cones,
among other instances in the natural world.
 Snake skin - hexagon cactus leaves - triangles honeycomb - hexagons

All the shapes showcased in the depicted images share a common

characteristic: each of them possesses an internal angle that is uniform, and the
cumulative sum of these equal angles amounts to 360 degrees. This specific
configuration is the sole manner in which a tessellation can come into existence, as
noted by ULITA (University of Leeds International Textiles Archive).

II. TESSELLATIONS IN ART

M.C. Escher, a graphic artist, received his training

from the 'Haarlem School for Architecture and Decorative
Arts'. His artistic expression was significantly influenced
by geometry and forms, which he skillfully translated into
depictions of nature with a geometric flair. Escher's
distinctive tile shapes, which he referred to as 'motifs',
were designed to bear resemblance to creatures when
viewed in outline. Notably, his Lizard shapes are all
crafted from hexagons that interlock to form a grid.
Escher's creative process involves taking each
hexagonal shape and employing a sequence of
techniques. He either 'translates' or slides a segment of the shape to its opposite
side, utilizing the tangents of the angles. Alternatively, he employs a method of
'rotation about the midpoint' of the tangent of the shape. These techniques serve as
the foundation for his creation of the intricate lizards in his artwork.

III. TESSELLATIONS IN ART IN ISLAM

Indeed, some of the most exquisite instances

of tessellation patterns in architecture and art are
prevalent within the realm of Islam. This is
particularly evident in regions like North Africa, the
Maghreb, and the Iberian Peninsula during the
Middle Ages. Islamic artistic tradition, which abstains
from depicting living forms, provided a fertile ground for the evolution of a style
centered on the utilization of geometric shapes. This resulted in the creation of
intricate and mesmerizing tessellation patterns that adorned various forms of artistic
expression, including architecture and decorative art.

FRACTALS

A fractal is an intricate, unending pattern that repeats itself at different scales.

It's created by a repetitive process and often appears in nature's complexity, such as
in trees, rivers, and clouds. Fractals can be abstract and are generated through
mathematical equations, like the Mandelbrot Set. They offer a unique glimpse into
chaos and complexity, existing between familiar dimensions.

I. FRACTALS ON LIGHTNING

The jagged appearance of lightning arises

from the electrical discharge's departure from
a continuous path. Instead, it takes place
through a series of distinct, intermittent "hops"
along ionized air channels known as
"leaders." These leaders extend in
increments, and upon reaching their
maximum span, they amass ions at their tips.
This buildup triggers the initiation of one or
more fresh leaders, giving rise to the
recognizable branching fractal pattern
characteristic of lightning.

II. FRACTALS ON ROMANESCO BROCCOLI

Romanesco broccoli, despite its name, is a

crossbreed between broccoli and cauliflower.
It follows a growth pattern known as the
golden spiral, which is rooted in the golden
ratio. This spiral widens by a factor of φ (phi)
with every quarter turn it takes. The
vegetable's unique trait of generating buds at
an increasingly rapid pace contributes to the
formation of this spiral pattern and its distinct conical shape. As the Romanesco
broccoli grows, its tip elongates, resulting in a taller structure.

III. FRACTALS ON SNOWFLAKES

Snowflakes exhibit remarkable

diversity in their designs, with each one
being unique. However, many snowflakes
embody fractal characteristics, as their
branch-like structures give rise to further
side-branches, creating a self-replicating
pattern. This process could theoretically
continue indefinitely, even expanding to
the size of the Earth, if not for the
cessation of moisture accumulation and
eventual melting.

Among the renowned fractal snowflake patterns, the Koch snowflake stands
out. This pattern originates from an equilateral triangle that begets another triangle,
and this process repeats successively. The Koch snowflake represents one of the
earliest documented instances of fractals.

IV. FRACTALS ON TREE BRANCHES

Trees exemplify one of the most iconic

natural fractals. As trees mature, their trunks
give rise to branches, and each of these
branches emulates a miniature tree, sprouting
its own set of branches and further
subdivisions. In intricate trees, the recurring Y-
shaped pattern is evident. This fractal
arrangement, akin to the spirals seen in
succulents, serves trees by maximizing their
access to sunlight and avoiding the
overshadowing of lower branches by upper
ones. The inherent design of these fractals
optimizes the tree's growth strategy and
efficiency.
 V. FRACTALS ON COPPER CRYSTALS

Fractal geometry finds its place in the

realm of chemistry as well. This phenomenon is
exemplified by copper crystals, which intricately
expand in various directions resembling the
branches of trees. Every "twig" in this growth
pattern signifies a fresh point of development,
and as it extends, it transforms into solid
metallic copper. Due to their tree-like structure
and distinct reddish-brown hue, copper crystals
are frequently cultivated for artistic purposes.

NUMBER PATTERNS

In the field of mathematics, number patterns refer to the systematic

arrangements of numbers that adhere to specific sequences. These patterns
typically establish a connection between two numbers and are also recognized as
numerical sequences or series. When tackling problems related to number patterns,
it's crucial to decipher the underlying rule that governs the pattern in question. This
understanding of the governing rule is essential for successfully solving problems
involving number patterns.

I. ARITHMETIC SEQUENCE

An arithmetic sequence denotes a sequence of numbers arranged in a

specific order, where there exists a uniform difference between each successive
term. For instance, in the arithmetic sequence 3, 9, 15, 21, 27, the shared difference
is 6. This type of sequence can also be referred to as an arithmetic progression. The
key characteristic of an arithmetic sequence is that the discrepancy between
consecutive terms remains constant. An arithmetic sequence emerges when we
consistently add or subtract the same number to generate the sequence. The term-
to-term rule elucidates the process of transitioning from one term to the subsequent
one.

Here are a few illustrations of arithmetic sequences:

II. GEOMETRIC SEQUENCE

A geometric sequence is a sequence where each term is obtained by

multiplying the previous term by a consistent value. The general term of this
sequence can be expressed as:

a_n = a_1 * r^(n - 1)

In this formula, "a_n" represents the nth term, "a_1" is the initial term, "r" is the
common ratio, and "n" indicates the term's position in the sequence. The common
ratio, denoted as "r," is determined by dividing any term in the sequence by its
preceding term. This consistent ratio governs how each term is related to the one
before it in a geometric sequence.

Example: Certainly, the sequence 2, 4, 8, 16, 32, 64, ... is a classic example
of a geometric sequence. In this sequence, each term is obtained by multiplying the
preceding term by a common ratio of 2. This results in the pattern of doubling with
each successive term, showcasing the characteristic behavior of a geometric
sequence.

III. SQUARE NUMBER SEQUENCE

In simpler terms, when you multiply an integer (a whole

number, whether positive, negative, or zero) by itself, the
outcome is referred to as a square number. These are
also known as perfect squares. Examples of square
numbers include 0, 1, 4, 9, 16, 25, 36, 49, 64, 81, 100,
121, 144, and so forth.
Formally, a square number is represented as n × n or n^2, where "n" signifies any
integer. This multiplication yields a result that is the square of the original integer,
hence the term "square number."

IV. CUBE NUMBER SEQUENCE

A cube number is the result of multiplying a number by itself and then once
again by itself. The "cubed" symbol, denoted as 3, signifies this operation. For
instance, the number 8 is a cube number since it's obtained by multiplying 2 by itself
and then by itself again (2 x 2 x 2). This is also represented as 2^3 ("two cubed").
Similarly, the number 27 is a cube number because it's the outcome of multiplying 3
by itself three times (3 x 3 x 3), or "three cubed." A cube number can also be referred
to as a number raised to the power of three or a number cubed.

More examples:

1 = 1 x 1 x 1 or 13

8 = 2 x 2 x 2 or 23

27 = 3 x 3 x 3 or 33

64 = 4 x 4 x 4 or 43

V. TRIANGULAR NUMBERS

A triangular number, denoted as Tn, is a type of figurative number that can be

visually depicted using an equilateral triangular arrangement of elements. In this
arrangement, each successive row contains one more element than the previous
row. This creates a triangular pattern, hence the name "triangular number."
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