A **pattern** is a regularity in the world, in human-made design, or in abstract ideas. As such, the elements of a pattern repeat in a predictable manner. A **geometric pattern** is a kind of pattern formed of geometric shapes and typically repeated like a wallpaper design.

- Nature
- Symmetry
- Spirals
- Chaos, turbulence, meanders and complexity
- Waves, dunes
- Bubbles, foam
- Cracks
- Spots, stripes
- Art and architecture
- Tilings
- In architecture
- Science and mathematics
- Fractals
- Computer science
- Fashion
- See also
- References
- Bibliography
- In nature
- In art and architecture
- In science and mathematics
- In computing

Any of the senses may directly observe patterns. Conversely, abstract patterns in science, mathematics, or language may be observable only by analysis. Direct observation in practice means seeing visual patterns, which are widespread in nature and in art. Visual patterns in nature are often chaotic, never exactly repeating, and often involve fractals. Natural patterns include spirals, meanders, waves, foams, tilings, cracks, and those created by symmetries of rotation and reflection. Patterns have an underlying mathematical structure;^{ [1] } indeed, mathematics can be seen as the search for regularities, and the output of any function is a mathematical pattern. Similarly in the sciences, theories explain and predict regularities in the world.

In art and architecture, decorations or visual motifs may be combined and repeated to form patterns designed to have a chosen effect on the viewer. In computer science, a software design pattern is a known solution to a class of problems in programming. In fashion, the pattern is a template used to create any number of similar garments.

Nature provides examples of many kinds of pattern, including symmetries, trees and other structures with a fractal dimension, spirals, meanders, waves, foams, tilings, cracks and stripes.^{ [2] }

Symmetry is widespread in living things. Animals that move usually have bilateral or mirror symmetry as this favours movement.^{ [3] } Plants often have radial or rotational symmetry, as do many flowers, as well as animals which are largely static as adults, such as sea anemones. Fivefold symmetry is found in the echinoderms, including starfish, sea urchins, and sea lilies.^{ [4] }

Among non-living things, snowflakes have striking sixfold symmetry: each flake is unique, its structure recording the varying conditions during its crystallisation similarly on each of its six arms.^{ [5] } Crystals have a highly specific set of possible crystal symmetries; they can be cubic or octahedral, but cannot have fivefold symmetry (unlike quasicrystals).^{ [6] }

Spiral patterns are found in the body plans of animals including molluscs such as the nautilus, and in the phyllotaxis of many plants, both of leaves spiralling around stems, and in the multiple spirals found in flowerheads such as the sunflower and fruit structures like the pineapple.^{ [7] }

Chaos theory predicts that while the laws of physics are deterministic, there are events and patterns in nature that never exactly repeat because extremely small differences in starting conditions can lead to widely differing outcomes.^{ [8] }. The patterns in nature tend to be static due to dissipation on the emergence process, but when there is interplay between injection of energy and dissipation there can arise a complex dynamic.^{ [9] } Many natural patterns are shaped by this complexity, including vortex streets ^{ [10] }, other effects of turbulent flow such as meanders in rivers.^{ [11] } or nonlinear interaction of the system ^{ [12] }

Waves are disturbances that carry energy as they move. Mechanical waves propagate through a medium – air or water, making it oscillate as they pass by.^{ [13] } Wind waves are surface waves that create the chaotic patterns of the sea. As they pass over sand, such waves create patterns of ripples; similarly, as the wind passes over sand, it creates patterns of dunes.^{ [14] }

Foams obey Plateau's laws, which require films to be smooth and continuous, and to have a constant average curvature. Foam and bubble patterns occur widely in nature, for example in radiolarians, sponge spicules, and the skeletons of silicoflagellates and sea urchins.^{ [15] }^{ [16] }

Cracks form in materials to relieve stress: with 120 degree joints in elastic materials, but at 90 degrees in inelastic materials. Thus the pattern of cracks indicates whether the material is elastic or not. Cracking patterns are widespread in nature, for example in rocks, mud, tree bark and the glazes of old paintings and ceramics.^{ [17] }

Alan Turing,^{ [18] } and later the mathematical biologist James D. Murray ^{ [19] } and other scientists, described a mechanism that spontaneously creates spotted or striped patterns, for example in the skin of mammals or the plumage of birds: a reaction–diffusion system involving two counter-acting chemical mechanisms, one that activates and one that inhibits a development, such as of dark pigment in the skin.^{ [20] } These spatiotemporal patterns slowly drift, the animals' appearance changing imperceptibly as Turing predicted.

In visual art, pattern consists in regularity which in some way "organizes surfaces or structures in a consistent, regular manner." At its simplest, a pattern in art may be a geometric or other repeating shape in a painting, drawing, tapestry, ceramic tiling or carpet, but a pattern need not necessarily repeat exactly as long as it provides some form or organizing "skeleton" in the artwork.^{ [21] } In mathematics, a tessellation is the tiling of a plane using one or more geometric shapes (which mathematicians call tiles), with no overlaps and no gaps.^{ [22] }

In architecture, motifs are repeated in various ways to form patterns. Most simply, structures such as windows can be repeated horizontally and vertically (see leading picture). Architects can use and repeat decorative and structural elements such as columns, pediments, and lintels.^{ [23] } Repetitions need not be identical; for example, temples in South India have a roughly pyramidal form, where elements of the pattern repeat in a fractal-like way at different sizes.^{ [24] }

See also: pattern book.

Mathematics is sometimes called the "Science of Pattern", in the sense of rules that can be applied wherever needed.^{ [25] } For example, any sequence of numbers that may be modeled by a mathematical function can be considered a pattern. Mathematics can be taught as a collection of patterns.^{ [26] }

Some mathematical rule-patterns can be visualised, and among these are those that explain patterns in nature including the mathematics of symmetry, waves, meanders, and fractals. Fractals are mathematical patterns that are scale invariant. This means that the shape of the pattern does not depend on how closely you look at it. Self-similarity is found in fractals. Examples of natural fractals are coast lines and tree shapes, which repeat their shape regardless of what magnification you view at. While self-similar patterns can appear indefinitely complex, the rules needed to describe or produce their formation can be simple (e.g. Lindenmayer systems describing tree shapes).^{ [27] }

In pattern theory, devised by Ulf Grenander, mathematicians attempt to describe the world in terms of patterns. The goal is to lay out the world in a more computationally friendly manner.^{ [28] }

In the broadest sense, any regularity that can be explained by a scientific theory is a pattern. As in mathematics, science can be taught as a set of patterns.^{ [29] }

In computer science, a software design pattern, in the sense of a template, is a general solution to a problem in programming. A design pattern provides a reusable architectural outline that may speed the development of many computer programs.^{ [30] }

In fashion, the pattern is a template, a technical two-dimensional tool used to create any number of identical garments. It can be considered as a means of translating from the drawing to the real garment.^{ [31] }

In mathematics, a **fractal** is a self-similar subset of Euclidean space whose fractal dimension strictly exceeds its topological dimension. Fractals appear the same at different levels, as illustrated in successive magnifications of the Mandelbrot set; because of this, fractals are encountered ubiquitously in nature. Fractals exhibit similar patterns at increasingly small scales called **self similarity**, also known as **expanding symmetry** or **unfolding symmetry**; if this replication is exactly the same at every scale, as in the Menger sponge, it is called affine self-similar. Fractal geometry lies within the mathematical branch of measure theory.

**Maurits Cornelis Escher** was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. Despite wide popular interest, Escher was for long somewhat neglected in the art world, even in his native Netherlands. He was 70 before a retrospective exhibition was held. In the twenty-first century, he became more widely appreciated, with exhibitions across the world.

**Sacred geometry** ascribes symbolic and sacred meanings to certain geometric shapes and certain geometric proportions. It is associated with the belief that a god is the geometer of the world. The geometry used in the design and construction of religious structures such as churches, temples, mosques, religious monuments, altars, and tabernacles has sometimes been considered sacred. The concept applies also to sacred spaces such as temenoi, sacred groves, village greens, and holy wells, and the creation of religious art.

**Symmetry** in everyday language refers to a sense of harmonious and beautiful proportion and balance. In mathematics, "symmetry" has a more precise definition, and is usually used to refer to an object that is invariant under some transformations; including translation, reflection, rotation or scaling. Although these two meanings of "symmetry" can sometimes be told apart, they are intricately related, and hence are discussed together in this article.

A **fractal landscape** is a surface generated using a stochastic algorithm designed to produce fractal behavior that mimics the appearance of natural terrain. In other words, the result of the procedure is not a deterministic fractal surface, but rather a random surface that exhibits fractal behavior.

**Mathematics and architecture** are related, since, as with other arts, architects use mathematics for several reasons. Apart from the mathematics needed when engineering buildings, architects use geometry: to define the spatial form of a building; from the Pythagoreans of the sixth century BC onwards, to create forms considered harmonious, and thus to lay out buildings and their surroundings according to mathematical, aesthetic and sometimes religious principles; to decorate buildings with mathematical objects such as tessellations; and to meet environmental goals, such as to minimise wind speeds around the bases of tall buildings.

A tiling or **tessellation** of a flat surface is the covering of a plane using one or more geometric shapes, called tiles, with no overlaps and no gaps. In mathematics, tessellations can be generalized to higher dimensions and a variety of geometries.

In geometry, the **Cairo pentagonal tiling** is a dual semiregular tiling of the Euclidean plane. It is given its name because several streets in Cairo are paved in this design. It is one of 15 known monohedral pentagon tilings. It is also called **MacMahon's net** after Percy Alexander MacMahon and his 1921 publication *New Mathematical Pastimes*. Conway calls it a **4-fold pentille**.

A **form constant** is one of several geometric patterns which are recurringly observed during hypnagogia, hallucinations and altered states of consciousness.

**Girih tiles** are a set of five tiles that were used in the creation of Islamic geometric patterns using strapwork (girih) for decoration of buildings in Islamic architecture. They have been used since about the year 1200 and their arrangements found significant improvement starting with the Darb-i Imam shrine in Isfahan in Iran built in 1453.

**Girih** is a decorative Islamic geometric artform used in architecture and handicraft objects, consisting of angled lines that form an interlaced strapwork pattern.

**Geometry** is a branch of mathematics concerned with questions of shape, size, relative position of figures, and the properties of space. A mathematician who works in the field of geometry is called a geometer.

**Mathematical beauty** is the aesthetic pleasure typically derived from the abstractness, purity, simplicity, depth or orderliness of mathematics. Mathematicians often express this pleasure by describing mathematics as *beautiful*. They might also describe mathematics as an art form or, at a minimum, as a creative activity. Comparisons are often made with music and poetry.

**Islamic** decoration, which tends to avoid using figurative images, makes frequent use of **geometric patterns** which have developed over the centuries.

**Mathematics and art** are related in a variety of ways. Mathematics has itself been described as an art motivated by beauty. Mathematics can be discerned in arts such as music, dance, painting, architecture, sculpture, and textiles. This article focuses, however, on mathematics in the visual arts.

A **Penrose tiling** is an example of an aperiodic tiling. Here, a *tiling* is a covering of the plane by non-overlapping polygons or other shapes, and *aperiodic* means that shifting any tiling with these shapes by any finite distance, without rotation, cannot produce the same tiling. However, despite their lack of translational symmetry, Penrose tilings may have both reflection symmetry and fivefold rotational symmetry. Penrose tilings are named after mathematician and physicist Roger Penrose, who investigated them in the 1970s.

**Jay Kappraff** is an American professor of mathematics at the New Jersey Institute of Technology and author.

In the geometry of tessellations, a **rep-tile** or **reptile** is a shape that can be dissected into smaller copies of the same shape. The term was coined as a pun on animal reptiles by recreational mathematician Solomon W. Golomb and popularized by Martin Gardner in his "Mathematical Games" column in the May 1963 issue of *Scientific American*. In 2012 a generalization of rep-tiles called self-tiling tile sets was introduced by Lee Sallows in *Mathematics Magazine*.

**Patterns in nature** are visible regularities of form found in the natural world. These patterns recur in different contexts and can sometimes be modelled mathematically. Natural patterns include symmetries, trees, spirals, meanders, waves, foams, tessellations, cracks and stripes. Early Greek philosophers studied pattern, with Plato, Pythagoras and Empedocles attempting to explain order in nature. The modern understanding of visible patterns developed gradually over time.

In geometry, an object has **symmetry** if there is an operation or transformation that maps the figure/object onto itself. Thus, a symmetry can be thought of as an immunity to change. For instance, a circle rotated about its center will have the same shape and size as the original circle, as all points before and after the transform would be indistinguishable. A circle is thus said to be *symmetric under rotation* or to have *rotational symmetry*. If the isometry is the reflection of a plane figure about a line, then the figure is said to have reflectional symmetry or line symmetry; it is also possible for a figure/object to have more than one line of symmetry.

- ↑ Stewart, 2001. Page 6.
- ↑ Stevens, Peter.
*Patterns in Nature*, 1974. Page 3. - ↑ Stewart, Ian. 2001. Pages 48-49.
- ↑ Stewart, Ian. 2001. Pages 64-65.
- ↑ Stewart, Ian. 2001. Page 52.
- ↑ Stewart, Ian. 2001. Pages 82-84.
- ↑ Kappraff, Jay (2004). "Growth in Plants: A Study in Number" (PDF).
*Forma*.**19**: 335–354. - ↑ Crutchfield, James P; Farmer, J Doyne; Packard, Norman H; Shaw, Robert S (December 1986). "Chaos".
*Scientific American*.**254**(12): 46–57. doi:10.1038/scientificamerican1286-46. - ↑ Clerc, Marcel G.; González-Cortés, Gregorio; Odent, Vincent; Wilson, Mario (29 June 2016). "Optical textures: characterizing spatiotemporal chaos".
*Optics Express*.**24**(14): 15478–85. arXiv: 1601.00844 . doi:10.1364/OE.24.015478. PMID 27410822. - ↑ von Kármán, Theodore.
*Aerodynamics*. McGraw-Hill (1963): ISBN 978-0070676022. Dover (1994): ISBN 978-0486434858. - ↑ Lewalle, Jacques (2006). "Flow Separation and Secondary Flow: Section 9.1" (PDF).
*Lecture Notes in Incompressible Fluid Dynamics: Phenomenology, Concepts and Analytical Tools*. Syracuse, NY: Syracuse University. Archived from the original (PDF) on 2011-09-29. - ↑ Scroggie, A.J; Firth, W.J; McDonald, G.S; Tlidi, M; Lefever, R; Lugiato, L.A (August 1994). "Pattern formation in a passive Kerr cavity" (PDF).
*Chaos, Solitons & Fractals*.**4**(8–9): 1323–1354. doi:10.1016/0960-0779(94)90084-1. - ↑ French, A.P.
*Vibrations and Waves*. Nelson Thornes, 1971. - ↑ Tolman, H.L. (2008), "Practical wind wave modeling", in Mahmood, M.F. (ed.),
*CBMS Conference Proceedings on Water Waves: Theory and Experiment*(PDF), Howard University, USA, 13–18 May 2008: World Scientific Publ.CS1 maint: location (link) - ↑ Philip Ball.
*Shapes*, 2009. pp 68, 96-101. - ↑ Frederick J. Almgren, Jr. and Jean E. Taylor,
*The geometry of soap films and soap bubbles*, Scientific American, vol. 235, pp. 82–93, July 1976. - ↑ Stevens, Peter. 1974. Page 207.
- ↑ Turing, A. M. (1952). "The Chemical Basis of Morphogenesis".
*Philosophical Transactions of the Royal Society B*.**237**(641): 37–72. Bibcode:1952RSPTB.237...37T. doi: 10.1098/rstb.1952.0012 .CS1 maint: ref=harv (link) - ↑ Murray, James D. (9 March 2013).
*Mathematical Biology*. Springer Science & Business Media. pp. 436–450. ISBN 978-3-662-08539-4. - ↑ Ball, Philip.
*Shapes*. 2009. Pages 159–167. - ↑ Jirousek, Charlotte (1995). "Art, Design, and Visual Thinking".
*Pattern*. Cornell University. Retrieved 12 December 2012. - ↑ Grünbaum, Branko; Shephard, G. C. (1987).
*Tilings and Patterns*. New York: W. H. Freeman. - ↑ Adams, Laurie (2001).
*A History of Western Art*. McGraw Hill. p. 99. - ↑ Jackson, William Joseph (2004).
*Heaven's Fractal Net: Retrieving Lost Visions in the Humanities*. Indiana University Press. p. 2. - ↑ Resnik, Michael D. (November 1981). "Mathematics as a Science of Patterns: Ontology and Reference".
*Noûs*.**15**(4): 529–550. doi:10.2307/2214851. JSTOR 2214851. - ↑ Bayne, Richard E (2012). "MATH 012 Patterns in Mathematics - spring 2012" . Retrieved 16 January 2013.
- ↑ Mandelbrot, Benoit B. (1983).
*The fractal geometry of nature*. Macmillan. ISBN 978-0-7167-1186-5. - ↑ Grenander, Ulf; Miller, Michael (2007).
*Pattern Theory: From Representation to Inference*. Oxford University Press. - ↑ "Causal Patterns in Science". Harvard Graduate School of Education. 2008. Retrieved 16 January 2013.
- ↑ Gamma et al, 1994.
- ↑ "An Artist Centric Marketplace for Fashion Sketch Templates, Croquis & More". Illustrator Stuff. Retrieved 7 January 2018.

Look up in Wiktionary, the free dictionary. pattern |

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Wikiquote has quotations related to: Pattern |

- Adam, John A.
*Mathematics in Nature: Modeling Patterns in the Natural World*. Princeton, 2006. - Ball, Philip
*The Self-made Tapestry: Pattern Formation in Nature*. Oxford, 2001. - Edmaier, Bernhard
*Patterns of the Earth*. Phaidon Press, 2007. - Haeckel, Ernst
*Art Forms of Nature*. Dover, 1974. - Stevens, Peter S.
*Patterns in Nature*. Penguin, 1974. - Stewart, Ian.
*What Shape is a Snowflake? Magical Numbers in Nature*. Weidenfeld & Nicolson, 2001. - Thompson, D'Arcy W.
*On Growth and Form*. 1942 2nd ed. (1st ed., 1917). ISBN 0-486-67135-6

- Alexander, C.
*A Pattern Language: Towns, Buildings, Construction*. Oxford, 1977. - de Baeck, P.
*Patterns*. Booqs, 2009. - Garcia, M.
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*V&A Pattern: The Fifties*. V&A Publishing, 2009.

- Adam, J. A.
*Mathematics in Nature: Modeling Patterns in the Natural World*. Princeton, 2006. - Resnik, M. D.
*Mathematics as a Science of Patterns*. Oxford, 1999.

- Gamma, E., Helm, R., Johnson, R., Vlissides, J.
*Design Patterns*. Addison-Wesley, 1994. - Bishop, C. M.
*Pattern Recognition and Machine Learning*. Springer, 2007.

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