Constants of nature, constants of architecture and mathematical interface

Abstract

Einstein explained to Henri Poincaré that he gave up on mathematics and entered the realm of physics be cause although he could discern true statements from false, he could not determine which facts were the important ones. Nonetheless, we can also assert that mathematics seems to be the uppermost human creation, pure poetics. Numbers, relation throughout numbers, leads to representation. Furthermore, there seems to be an invisible world that can only be pictured through mathematics and thus we can imagine, we can see. By following this path, we can then state that art and the aesthetic can be deeply challenged at the level of being human, a creation of the highest order, as well as embodying the aesthetic experience as the sensible experience, according to similar lines of enquiry that are offered by mathematics. Modern science put in motion an idea that seems even critical today, that contemporary knowledge and civilization can only be possible by research into the unseen, being it at the microcosmos of cells and atoms or at the macro cosmologic level. Kari Jormakka explains that the presence of geometry (and thus of mathematics in architecture) seems to be a tool, a subjective option of the architect. Certainly, in each case, options regarding geometry enable impressive solutions and working methodologies, but also bound creatin. Einstein Poincaré-Jormakka may lead us to a world of inquiry about the role of mathematics in architecture, in design. Truth, essence, accuracy in architecture as well as scientific validity can be mechanisms to deeply question the nature of ar chitecture is. In general, humans like order, and constants of nature seem magical. However, when algebra surpasses geometry, mathematical realism seems to display much of irrational numbers being Φ – Phi – a single one among an infinity. The use of Phi seems to offer a practical method where the essence of architecture might lie in other places.