In recent years, my studies have focused heavily on the relationship between taste as a physiological sense and taste as an aesthetic sense. Although this is a topic whose exploration could easily fill dozens, if not hundreds, of pages, a recent event in our shared history :) inspired me to start a series of articles on this theme, specifically focusing on a few aesthetic principles that are useful in crafting harmonious and expressive dishes.
The event I’m referring to happened during the infamous lockdown that most of us experienced. Like many, I found myself opening that chest of memories, my photo archive. Among the many discoveries, I stumbled upon a folder from 2018 that contained a series of visuals I had planned to use for a study on plating architecture. As wise people say, everything happens in its own time. Two years later, this study is ready to see the light of the internet—proving that it’s never too late! :) The visuals used here were created by my dear friend Lavinia Ferencz, who I’d like to thank once again for joining me in this creative exploration, this time graphically analyzing a few of my dishes through the lens of the Fibonacci spiral—because, as you’ll see, this was the starting point of the study I mentioned.
WHO IS FIBONACCI, AND WHY IS HE SO IMPORTANT?
Born Leonardo Pisano or Leonardo of Pisa, Fibonacci was a mathematician who lived in Italy during the 12th century. His in-depth studies significantly contributed to the development of mathematics and its influence on daily life, although his work wasn’t fully realized or recognized until much later in history.
Fibonacci lived during an exciting time marked by travel, discoveries, cultural exchanges, and especially strong commercial relationships, which all led to significant societal advancements. The son of a public official, Fibonacci was privileged to receive a refined education, being encouraged to study mathematics—a science perfectly suited to the spirit of the time, as business and commerce demanded knowledge of calculation and order. His father’s guidance was ideal for Fibonacci, who—unlike me :) — effortlessly understood and truly loved mathematics, seeing it as a fascinating discipline to which he dedicated himself with great passion.
By studying the works of the great ancient mathematicians, Fibonacci developed his own contributions. His most significant work was the *Liber Abaci* (The Book of Calculation), now considered a reference book, primarily due to the shifts in perspective it introduced (though not fully appreciated in his era). Deeply influenced by Pythagoras and Euclid, Fibonacci proposed new algorithms and calculation methods through the Arabic numeral system—methods that were far more efficient and practical. He demonstrated the superiority of the Arabic numeral system over the Roman numerals used until then.
Among other things, he recognized the importance of the number 0, which had appeared in the 7th century but had not been concretely used until Fibonacci realized that by adding the symbol 0 to the numbers 1-9 available in the Arabic system, he could write practically any number—a revelation that changed everything in a world still using the cumbersome and impractical Roman numerals. This revelation also led Fibonacci to develop a decimal calculation system, something that was virtually impossible with Roman numerals.
THE FIBONACCI SEQUENCE AND THE GOLDEN RATIO
Among all the proposals in *Liber Abaci*, Fibonacci mentions a calculation method that, while not central to the book's focus, would later become extraordinarily famous. This is what we now know as the "Fibonacci sequence," where each number in the series is the sum of the two preceding it, beginning with 0 and 1 (0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610… and so on). As the numbers in the sequence increase, their ratio to the preceding number gets closer to the value of the golden ratio, symbolized by the Greek letter Φ (phi): for example, 610:377 = 1.168, 377:233 = 1.168, and so on.
It’s worth noting that, for Fibonacci, this was not presented as a groundbreaking discovery, certainly not with the significance it holds today. The sequence was merely a method of calculation, illustrated through a hypothetical problem about the reproduction rate of rabbits. In fact, he modestly states in his book, as historians often emphasize, that he was simply presenting the ideas of his predecessors, to which he occasionally added his own conclusions. Those ancient predecessors, whom he studied and deeply admired, believed that the golden ratio symbolized divine harmony. Thus, while rooted in algebra, the spiral derived from the Fibonacci sequence and the golden ratio also touches upon geometric notions such as sections, lines, and angles, and has come to represent the ultimate measure of aesthetic harmony.
In other words, an objective way to determine what is beautiful and what is not.
AND WHAT IS THE CONNECTION BETWEEN MATHEMATICS AND AESTHETICS?
Over time, scientists (and not only) have studied the golden ratio and the Fibonacci spiral so extensively that the subject has gained a significance that even Fibonacci himself could not have imagined in his day.
Because of its unique harmony, it is believed that most ancient works are based on the golden ratio. Classic examples often cited include the construction of the Parthenon, designed by the architect Phidias—whose name gave rise to the symbol phi—and the statue of Doryphoros, created by Polykleitos, which was considered a canon of the era for perfect human proportions.
Unsurprisingly, Renaissance artists were also strong advocates of the golden ratio, which they not only promoted but used extensively in their creations, aiming to honor the aesthetic legacy of Antiquity. Leonardo da Vinci’s Vitruvian Man and Mona Lisa are two of the most famous references from the Renaissance, believed to continue the ancient quest for an ideal human figure by defining perfect proportions. Moreover, it is thought that Leonardo da Vinci deliberately used the divina proportione or sectio aurea in his works, as did many other artists of his time, such as Raphael or Michelangelo.
The fascination with the harmony of the Fibonacci spiral didn’t stop there. From Shakespeare’s Sonnets to the music of great composers like Mozart, Bach, Beethoven, Chopin, and Debussy, numerous analyses over time have identified the golden ratio as a basis for what we now consider some of the world’s greatest creations. It has even been speculated that the Stradivarius violin, regarded as the most captivating string instrument of all time, was crafted by Antonio Stradivari using the golden ratio deliberately.
Architecture and art have continued to draw inspiration from this ancient marker of perfect harmony. An example from modern architecture is the Mole Antonelliana in Turin, originally designed as a synagogue by architect Alessandro Antonelli and built between 1863 and 1889, now housing the National Museum of Cinema. On one of the four sides of the dome, the first digits of the Fibonacci sequence are illuminated in neon, as part of the artwork Il volo dei numeri by artist Mario Merz. From art and architecture to design, graphic arts, and modern photography, the golden ratio and Fibonacci spiral continue to be used extensively as “recipes” for achieving harmonious, balanced results, leading to creations considered successful from an aesthetic standpoint.
THE CONNECTION BETWEEN FIBONACCI AND PLATING
We’ve seen that, from Antiquity, the golden ratio—and later, Fibonacci’s spiral—were used to somehow “measure” the beauty and harmony of an object. But what does the mathematician Fibonacci have to do with the visual presentation of a culinary dish? Whether we’re talking about plating or food photography, just as in art and architecture, principles of composition such as proportion, symmetry, and unity are used in gastronomy to create balance, harmony, and ultimately, beauty.
Before fully enjoying the flavor of a dish, it is often said that we first “eat with our eyes.” This quote is attributed to Apicius, who composed the first known cookbook in Antiquity. While it hasn’t been definitively proven that he is the author of this reflection, history has shown us that it is undeniably true—visual appeal holds at least as much importance as taste in defining a gastronomic experience.
Modern neuroscience studies have shown that, in visual perception, humans demonstrate an inherent sensitivity to symmetrical and orderly structures, which they can detect with impressive speed (within a few nanoseconds), with a tendency to favor them aesthetically and consider them “more beautiful.”
There have even been artists who deliberately used the golden ratio or Fibonacci’s spiral, aiming for harmony as close to perfection as possible. However, they tend to be exceptions rather than the rule. Most artists have acted intuitively, with the resulting harmony being an expression of a creative impulse stemming from an inner universe that has already assimilated references of balance and harmony (such as Fibonacci’s spiral or the golden ratio).
It is within that mental and emotional space that the idea or concept is born on an abstract level. However, the form it takes, the expression it assumes, and ultimately the taste it incorporates all depend on the refinement of a certain aesthetic sense, cultivated through exposure to such harmonic references.
Although it’s not impossible, it is rather unlikely that a chef will meticulously and mathematically calculate the placement of each element of a dish to align perfectly with the golden ratio. However, simply by having been repeatedly and consistently exposed to certain artistic references, and by having assimilated various aesthetic notions, the chef will intuitively find the necessary tools to create a dish defined by harmony and balance during their creative process. This is why, in my opinion, knowledge of ingredients, culinary techniques, and preparation methods are not enough to create a truly complete and complex gastronomic experience. Or, to put it simply, this is why educating the palate also requires educating the mind.
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