- 316L stainless steel polished case
- Brushed and polished finish for the caseback
- Front sapphire crystal with inner and outer antireflective coating
- See-through sapphire crystal back with inner double antireflective coating
- Caseback sealed with 4 screws
- Caseback filled with a gold-plated silver COIN with Golden Ratio motif
- Viton® sealing under caseback – resistant against chemicals
- Big diamond crown with Biatec logo
- Screwed brushed plate with Limited edition number applied to the bottom lug
- Width: 40.00 mm without crown, 44.40 mm with crown
- 48.00 mm lug to lug distance
- Thickness: 12,83 mm
- Lug width: 22 mm
- Sunray dial with silver golden ratio line
- Polished indexes
- Big logo at 12 o`clock position
- Matt hour hand and polished minute hands
- Black calf leather and black stitching
- Second dark blue color strap included
- High resistance against water
- 316L stainless steel buckle with Biatec logo
- Medium padding, thickness: 4.00 mm
- Length: 120.00 mm (long side), 80.00 mm (short side)
- 50 meters, 5 atm.
- Vibrations per hour: 28.800
- Frequency: 4Hz
- Jewels: 29
- Ball bearing: 5
- ~65 hours
Treatment / Decor
- Rhodium-plating / Shot-blasting
- Brushed oscillating weight
Design by Mgr. art. Michal Stasko
I am a Slovak designer working in Slovakia and in the Czech Republic. I have been working professionally since 1996.I offer creative services in product, industrial design, interior design and furniture design. I’m the RedDot Design Award winner 2013 in the product design category for the 3k product from TULI.
What makes a single number so interesting that ancient greeks, renaissance artists, a 17th century astronomer and a 21st century novelist all would write about it?
It’s a number that goes by many names. This “golden” number, 1.61803399, represented by the Greek letter Phi, is known as the Golden Ratio, Golden Number, Golden Proportion, Golden Mean, Golden Section, Divine Proportion and Divine Section. It was written about by Euclid in “Elements” around 300 B.C., by Luca Pacioli, a contemporary of Leonardo Da Vinci, in “De Divina Proportione” in 1509 and by Johannes Kepler around 1600.
In 1509, Luca Pacioli wrote a book that refers to the number as the “Divine Proportion,” which was illustrated by Leonardo da Vinci. Da Vinci later called this sectio aurea or the Golden section. The Golden ratio was used to achieve balance and beauty in many Renaissance paintings and sculptures. Da Vinci himself used the Golden ratio to define all of the proportions in his Last Supper, including the dimensions of the table and the proportions of the walls and backgrounds. The Golden ratio also appears in da Vinci’s Vitruvian Man and the Mona Lisa. Other artists who employed the Golden ratio include Michelangelo, Raphael, Rembrandt, Seurat, and Salvador Dali.
Faces, both human and nonhuman, abound with examples of the Golden Ratio. The mouth and nose are each positioned at golden sections of the distance between the eyes and the bottom of the chin. Similar proportions can been seen from the side, and even the eye and ear itself (which follows along a spiral). It’s worth noting that every person’s body is different, but that averages across populations tend towards phi. It has also been said that the more closely our proportions adhere to phi, the more “attractive” those traits are perceived. As an example, the most “beautiful” smiles are those in which central incisors are 1.618 wider than the lateral incisors, which are 1.618 wider than canines, and so on. It’s quite possible that, from an evo-psych perspective, that we are primed to like physical forms that adhere to the golden ratio — a potential indicator of reproductive fitness and health.