This scale is derived from Olivier Messiaen’s modes of limited transpositions, from which it is known as the second mode, among many other names elsewhere.
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This property of symmetry is useful for Olivier Messiaen’s modes of limited transpositions and their truncations, which is one of the many reasons why I chose the tritone layout as the foundation for my development of LinnStrument proficiency. There are other layouts based on factors of 12 that also share this property, but their usability is limited by vertical and/or horizontal note range. The less hand movement required, the better the layout is for ergonomics and my desired applications.
These modes are very easy to play on the tritone layout, but playing seventh chords, the diatonic scale and its various modes require some slight stretching depending on the position of the hand(s) and played note(s), and is the main reason why I wrote my tritone layout resources to address its challenges. In contrast, the Striso’s layout is excellent for playing common triad chords, the diatonic scale and its truncations such as the pentatonic scale, but struggles against the modes of limited transpositions and its truncations.