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Tag Archives: architecture

The Golden Ratio: Design’s Biggest Myth

21 Thursday May 2015

Posted by Y2DC© in Uncategorized

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architecture, arts, Barcelona Museum of Contemporary Art, ChatresCathedral, DeDivinaProportione, Euclid's, Fuseproject, GoldenRatio, iPad, LeCorbusier, LucaPacioli, Michelangelo, Modulorsystem, MonaLisa, Mozart, RichardMeier, SalvadorDalí, Seurat, StanfordUniversity, Stonehenge, The Parthenon, TheSacramentoftheLastSupper, UniversityofArkansas

THE GOLDEN RATIO IS TOTAL NONSENSE IN DESIGN. HERE’S WHY.

In the world of art, architecture, and design, the golden ratio has earned a tremendous reputation. Greats like Le Corbusier and Salvador Dalí have used the number in their work. The Parthenon, the Pyramids at Giza, the paintings of Michelangelo, the Mona Lisa, even the Apple logo are all said to incorporate it.

The golden ratio’s aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don’t use it, and if they do, they vastly discount its importance. There’s also no science to really back it up. Those who believe the golden ratio is the hidden math behind beauty are falling for a 150-year-old scam.

Flickr user Sébastien Bertrand

What is the Golden Ratio?

First described in Euclid’s Elements 2,300 years ago, the established definition is this: two objects are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The value this works out to is usually written as 1.6180. The most famous application of the golden ratio is the so-called golden rectangle, which can be split into a perfect square, and a smaller rectangle that has the same aspect ratio as the rectangle it was cut away from. You can apply this theory to a larger number of objects by similarly splitting them down.

THE GOLDEN RATIO IS ALWAYS GOING TO BE A LITTLE OFF.

In plain English: if you have two objects (or a single object that can be split into two objects, like the golden rectangle), and if, after you do the math above, you get the number 1.6180, it’s usually accepted that those two objects fall within the golden ratio. Except there’s a problem. When you do the math, the golden ratio doesn’t come out to 1.6180. It comes out to 1.6180339887… And the decimal points go on forever.

“Strictly speaking, it’s impossible for anything in the real-world to fall into the golden ratio, because it’s an irrational number,” says Keith Devlin, a professor of mathematics at Stanford University. You can get close with more standard aspect ratios. The iPad’s 3:2 display, or the 16:9 display on your HDTV all “float around it,” Devlin says. But the golden ratio is like pi. Just as it’s impossible to find a perfect circle in the real world, the golden ratio cannot strictly be applied to any real world object. It’s always going to be a little off.

The Golden Ratio As Mozart Effect

It’s pedantic, sure. Isn’t 1.6180 close enough? Yes, it probably would be, if there were anything to scientifically support the notion that the golden ratio had any bearing on why we find certain objects like the Parthenon or the Mona Lisa aesthetically pleasing.

But there isn’t. Devlin says the idea that the golden ratio has any relationship to aesthetics at all comes primarily from two people, one of whom was misquoted, and the other of whom was just making shit up.

The first guy was Luca Pacioli, a Franciscan friar who wrote a book called De Divina Proportione back in 1509, which was named after the golden ratio. Weirdly, in his book, Pacioli didn’t argue for a golden ratio-based theory of aesthetics as it should be applied to art, architecture, and design: he instead espoused the Vitruvian system of rational proportions, after the first-century Roman architect, Vitruvius. The golden ratio view was misattributed to Pacioli in 1799, according to Mario Livio, the guy who literally wrote the book on the golden ratio. But Pacioli was close friends with Leonardo da Vinci, whose works enjoyed a huge resurgence in popularity in the 19th century. Since Da Vinci illustrated De Divina Proportione, it was soon being said that Da Vinci himself used the golden ratio as the secret math behind his exquisitely beautiful paintings.

One guy who believed this was Adolf Zeising. “He’s the guy you really want to burn at the stake for the reputation of the golden ratio,” Devlin laughs. Zeising was a German psychologist who argued that the golden ratio was a universal law that described “beauty and completeness in the realms of both nature and art… which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical.”

He was a long-winded guy. The only problem with Zeising was he saw patterns where none exist. For example, Zeising argued that the golden ratio could be applied to the human body by taking the height from a person’s navel to his toes, then dividing it by the person’s total height. These are just arbitrary body parts, crammed into a formula, Devlin says: “When measuring anything as complex as the human body, it’s easy to come up with examples of ratios that are very near to 1.6.”

IN MY OWN WORK, I CAN’T EVER RECALL USING THE GOLDEN RATIO.

But it didn’t matter if it was made up or not. Zeising’s theories became extremely popular, “the 19th-century equivalent of the Mozart Effect,” according to Devlin, referring to the belief that listening to classical music improves your intelligence. And it never really went away. In the 20th century, the famous Swiss-French architect Le Corbusier based his Modulor system of anthropometric proportions on the golden ratio. Dalí painted his masterpiece The Sacrament of the Last Supper on a canvas shaped like a golden rectangle. Meanwhile, art historians started combing back through the great designs of history, trying to retroactively apply the golden ratio to Stonehenge, Rembrandt, the Chatres Cathedral, and Seurat. The link between the golden ratio and beauty has been a canard of the world of art, architecture, and design ever since.

Ian Yen via Yanko Design

You Don’t Really Prefer The Golden Ratio

In the real world, people don’t necessarily prefer the golden ratio.

Devlin tells me that, as part of an ongoing, unpublished exercise at Stanford, he has worked with the university’s psychology department to ask hundreds of students over the years what their favorite rectangle is. He shows the students collections of rectangles, then asks them pick out their favorite one. If there were any truth behind the idea that the golden ratio is key to beautiful aesthetics, the students would pick out the rectangle closest to a golden rectangle. But they don’t. They pick seemingly at random. And if you ask them to repeat the exercise, they pick different rectangles. “It’s a very useful way to show new psychology students the complexity of human perception,” Devlin says. And it doesn’t show that the golden ratio is more aesthetically pleasing to people at all.

Devlin’s experiments aren’t the only ones to show people don’t prefer the golden ratio. A study from the Haas School of Business at Berkeleyfound that, on average, consumers prefer rectangles that are in the range of 1.414 and 1.732. The range contains the golden rectangle, but its exact dimensions are not the clear favourite.

Many of Today’s Designers Don’t Think It’s Useful

The designers we spoke to about the golden ratio don’t actually find it to be very useful, anyway.

Richard Meier, the legendary architect behind the Getty Center and the Barcelona Museum of Contemporary Art, admits that when he first started his career, he had an architect’s triangle made that matched the golden ratio, but he had never once designed his buildings keeping the golden ratio in mind. “There are so many other numbers and formulas that are more important when designing a building,” he tells me by phone, referring to formulas that can calculate the maximum size certain spaces can be, or ones that can determine structural load.

THERE ARE SO MANY OTHER NUMBERS AND FORMULAS THAT ARE MORE IMPORTANT WHEN DESIGNING A BUILDING.

Alisa Andrasek, the designer behind Biothing, an online repository of computational designs, agrees. “In my own work, I can’t ever recall using the golden ratio,” Andrasek writes in an email. “I can imagine embedding the golden ratio into different systems as additional ‘spice,’ but I can hardly imagine it driving the whole design as it did historically… it is way too simplistic.”

Giorgia Lupi of Accurat, the Italian design and innovation firm, says that, at best, the golden ratio is as important to designers as any other compositional rule, such as the rule of thirds: maybe a fine rule-of-thumb, but one that good designers will feel free to reject. “I don’t really know, in practice, how many designers deliberately employ the golden ratio,” she writes. “I personally have never worked with it our used it in my projects.”

Of the designers we spoke to, industrial designer Yves Béhar of Fuseproject is perhaps kindest to the golden ratio. “I sometimes look at the golden ratio as I observe proportions of the products and graphics we create, but it’s more informational than dogmatic,” he tells me. Even then, he never sets out to design something with the golden ratio in mind. “It’s important as a tool, but not a rule.”

Even designers who are also mathematicians are skeptical of the golden ratio’s use in design. Edmund Harriss is a clinical assistant professor in the University of Arkansas’ mathematics department who uses many formulas to help generate new works of art. But Harriss says that the golden ratio is, at best, just one of many tools at a mathematically inclined designer’s fingertips. “It is a simple number in many ways, and as a result it does turn up in a wide variety of places…” Harriss tells me by email. “[But] it is certainly not the universal formula behind aesthetic beauty.”

The Sacrament of the Last Supper, 1955, Salvador Dali

Why Does The Myth Persist?

If the golden ratio’s aesthetic merit is so flimsy, then why does the myth persist?

Devlin says it’s simple. “We’re creatures who are genetically programmed to see patterns and to seek meaning,” he says. It’s not in our DNA to be comfortable with arbitrary things like aesthetics, so we try to back them up with our often limited grasp of math. But most people don’t really understand math, or how even a simple formula like the golden ratio applies to complex system, so we can’t error-check ourselves. “People think they see the golden ratio around them, in the natural world and the objects they love, but they can’t actually substantiate it,” Devlin tells me. “They are victims to their natural desire to find meaning in the pattern of the universe, without the math skills to tell them that the patterns they think they see are illusory.” If you see the golden ratio in your favorite designs, you’re probably seeing things.

Dering Hall

30 Thursday May 2013

Posted by Y2DC© in News

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architects, architecture, artisans, arts, Dering Hall, design, finest interior designers, furniture, home furnishings, interior design, interior design companies, interior design consultants, london interior design, los angeles interior design, new york interior designers

386178-Ralph_Pucci_International_Volubile

Y2DC is now proud to announce their inclusion on the Dering Hall online marketplace. Here you will find the finest interior designers, architects, artisans, and design galleries to showcase their work and sell new, high-end home furnishings and accessories.

At Dering Hall they are passionate about design and broadening the audience for the best the industry has to offer. Their ongoing mission is to assemble a community of the world’s leading creators in one place and to connect them with other designers and savvy, sophisticated consumers.

They provide a roster of top talent with permanent storefronts, where they present a curated assortment of products to highly engaged shoppers. These customers, in turn, gain access to unique pieces previously available only to select designer clients. It’s an entirely new approach to furnishing a home—and one that makes hunting for that perfect bespoke sideboard a dynamic and enjoyable experience.

Buyers can effortlessly browse Dering Hall’s storefronts, search product listings, or keep up to date on favorite designers with our innovative “Follow” function. They also offer special Featured Sales as well as a range of compelling and inspiring design content. Welcome to the world of Dering Hall, from the best designers in the world!

http://www.deringhall.com

China to build world’s tallest building – in just 90 days

06 Thursday Dec 2012

Posted by Y2DC© in News

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architecture, Burj Khalifa, Chairman Mao Zedong, Changsha, design, Kingdom Tower, luxury development, Sky City, Skyscraper

web-china-broad

 

 

 

 

 

 

 

 

 

When completed by the end of next March, Sky City in Changsha will be the tallest skyscraper in the world, standing at 2,749ft (838m) high, over 220 floors. And remarkably, they’ve not started building it yet.

It took Dubai more than five years to build the world’s tallest building, the 828mBurj Khalifa, but architects and engineers at Broad Sustainable Building (BSB), a unit of the air conditioning maker Broad Group, are confident they can beat that record.

Critics have pointed out that BSB’s construction company has never built anything taller than 30 storeys before, but the builders seem unworried.

BSB senior vice-president Juliet Jiang told Construction Week Online that the company’s plan to construct the skyscraper “will go on as planned with the completion of five storeys a day.”

Designed by engineers who worked on the Burj Khalifa, Sky City will achieve the target by assembling BSB’s 95 per cent prefabricated modular technology at a breakneck construction pace. Nine of the world’s newest tallest 20 buildings are being built in China.

Adrian Smith, the Chicago-based designer of the Burj Khalifa who is working on the Kingdom Tower in Saudi Arabia, said at a meeting of the Council for Tall Buildings and Urban Habitat in Shanghai last month that rapid urbanisation in China would fuel major expansion in tall buildings.

“There are 179,000 people moving into urban areas every week. Do they go into a horizontal or a vertical city? It’s a question of economics,” said Mr Smith. BSB, currently responsible for 20 modular structures in China, demonstrated the construction method to a wider audience in January, when it constructed a 30-storey hotel in 15 days.

Foundation work is due to start at the end of the month, once local authorities approve the project. The slowing economy in China has led to some skyscraper plans being shelved, but the economy is still expanding at rates unheard of in the West. In China there is still considerable interest in building skyscrapers that show the rest of the world that your city or your company has truly arrived.

Changsha is probably best known as the hometown of Chairman Mao Zedong. Sky City’s projected cost is four billion yuan (£400m). Builders will use 220,000 tons of steel, and the structure will be able to house 31,400 people.

The company says the residential area will use 83 per cent of the building, while the rest will be offices, schools, hospitals, shops and restaurants. People will travel up and down using 104 high-speed elevators.

Sky City will consume a fifth of the energy required by a conventional building due to what BSB says is its unique construction methods, such as quadruple glazing and 15cm-thick exterior walls for thermal insulation.When it is finished it will be taller than the Shanghai Tower, which was supposed to be China’s tallest building, at 632m, when completed in 2014.

There are 239 buildings taller than 200m being built in the country,. At the end of last year, there were only 61 buildings taller than 300m in the world, but in five years, China will have more than 60.

2012 FX International Interior Design Awards

28 Friday Sep 2012

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architecture, awards, FX Awards, interior design, interior design companies, interior design consultants, london interior design, Sheraton Heathrow Hotel, Sheraton Hotels, star, starwood hotels resorts

Now in its 14th year, the prestigious FX Awards invites both UK and International designers from all over the world to enter the very best of interior products and projects.

We are delighted to announce that Y2DC along with 8Build have been shortlisted for Public Space Scheme.

The project selected for the Short List is The Sheraton Hotel Heathrow.

The Table

05 Saturday May 2012

Posted by Y2DC© in Design Ideas

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architecture, arts, ATELIER VAN LIESHOUT, DEMAKERSVAN, dreyfus, furniture, INGRID DONAT, interior design, interior design consultants, JORIS LAARMAN, MAARTEN BAAS, MARC QUINN, STUDIO JOB, THIERRY DREYFUS, VINCENT DUBOURG

Some innovative table designs from the Carpenters Workshop Gallery.

ATELIER VAN LIESHOUT

ATELIER VAN LIESHOUT

ATELIER VAN LIESHOUT

INGRID DONAT

INGRID DONAT

DEMAKERSVAN

DEMAKERSVAN

STUDIO JOB

STUDIO JOB

MARC QUINN

MARC QUINN

JORIS LAARMAN

MAARTEN BAAS

THIERRY DREYFUS

VINCENT DUBOURG

VINCENT DUBOURG

ATELIER VAN LIESHOUT

VINCENT DUBOURG

STUDIO JOB

MARC QUINN

ATELIER VAN LIESHOUT

INGRID DONAT

VINCENT DUBOURG

INGRID DONAT

ANDREA BRANZI / TREES / PARIS

05 Saturday May 2012

Posted by Y2DC© in Lifestyle

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Andrea Branzi, architecture, arts, Carpenters Workshop Gallery, French finesse, furniture, interior design, interior design consultants

10 MARCH – 16 MAY 2012 / PARIS

“When birch tree forests are pruned or agricultural cultivations of fruit trees are picked, they are dispersed or burned. I have always been fascinated by these parts of nature, that continue to give off a grand expressive force, more powerful when they are combined with modern, perfect and industrial materials. They become mysterious, always diverse, unique, unrepeatable and somewhat sacred presences.
Trees, trunks and branches are part of our ancient culture but also of actual culture, because in the age of globalization, design searches to trace recognizable ‘anthropologoical’ platforms. The collection, ‘Trees’ consists to place simple, everyday objects, books, and images next to the strange presence of branches and trunks, like in the reality of the world.”

Andrea Branzi
In a short time, Carpenters Workshop Gallery in Paris has already treated us to a regular and rich demonstration of Design Art: in March, Andrea Branzi will be given space to express himself as a free and committed thinker with this new collection « Trees ».
In a space that was once the Galerie de France, a place where contemporary art flourished, Catherine Thieck will come back to pose a few objects from her own collection on the shelves of Andrea Branzi. Works by Marcel Duchamp, Constantin Brancusi, Méret Oppenheim and Rebecca Horn will fill the shelves
of an artist whose personality and preoccupations have remained consistently at the avant-garde of the architecture and design world.
The Italian architect and designer Andrea Branzi, born in 1938, was ahead of his time in Florence in 1966 when he set up Archizoom associati, the first, internationally renowned avant-garde group. In order to define this remarkable character, one must use the vocabulary of projects: theoretical research, new
design, experimental laboratory, leeway, mass creativity, new organisation… He also knows how to share his battles, he coordinates and curates exhibitions, he regularly exhibits his personal work, publishes manifestos, teaches generations of students and participates in conferences all over the world. In fact, multiple spaces would be needed to cover all angles of the man: a screening room, an auditorium, a museum and more than a few metres of shelf space.
Andrea Branzi is passionate about the morphology of urban space; he breaks down the accepted codes and vigorously shakes the foundations of the ever-present conventions. Today more than ever, this insatiable troublemaker continues to disrupt the status quo and places humans and nature at the centre of his thinking.
« Trees » represents a continuation of his thinking on architecture. He creates a minimalist space of shelves, veritable pieces of micro-architecture made from aluminium that spread out in neo-plastic bursts like a Mondrian. However, through the splits in the frame, Andrea Branzi introduces trunks and twigs gathered in the wild. This strange encounter that began in the eighties with « Animali domestici », questions the duality of the nature-culture relationship.
With « Trees », he adds a dimension, an extra slice of soul, as nature becomes art, a contemporary icon, an emotional window linked to the knowledge of the vital importance of this precious, common heritage.
Pieces on show:
Seven shelves, in different shapes and formats, in aluminium and birch wood.
Trees 1-2-3-4, Trees 5, Trees 8-9

Wavy Brick Mulberry House Back to Life on Houston Street

01 Tuesday May 2012

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architecture, new york architecture, new york design, new york style

By Michael Ewing 4/30 5:35pm

One of the prettiest zombies of the real estate collapse is finally coming back to life. The condo tower at 290 Mulberry Street has been nearly finished for years now, but the developer fell into trouble, the building bounced around a bit, and only now is it coming back on the market, as a rental.

Karass Development picked up the project, and with the help of Citi Habitats broker Lucie Holt, it has been rebranded as Mulberry House, a rental building that has just come on the market. From the marketing materials:

All residences at Mulberry House include private keyed elevators, radiant-heat Walnut flooring, security camera systems, central A/C and oversized double-glazed windows.

State-of-the-art kitchens boast custom gloss-white cabinetry with stone countertops, Bosch gas cooktops and ovens, Miele dishwashers and Liebherr stainless steel refrigerators.  In addition, all kitchens feature Marvel wine coolers to keep bottles at the perfect temperature.

The lofts’ bathrooms are equally luxurious.  Designed as a spa-like retreats, Mulberry House baths boast custom vanities and concrete tubs designed by SHoP Architects.  All residents will appreciate amenities including the full-time lobby attendant, common terrace located on the second floor, and the available private storage units.

The interior is still being completed and the rental prices remain undecided.

“Mulberry House offers rental residences that are unlike anything available in SoHo,” Ms. Holt said in a release. “The breathtaking modern design, top-of-the line finishes, and privacy offered to residents, are all truly spectacular.”

This may be the nicest news on Houston Street since they reinstalled “The Wall” in 2007—about the same time poor old Mulberry House got underway.

As 1 WTC Reaches Historic Height, An Effacing Empire State Building ‘Salutes’

01 Tuesday May 2012

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architecture, empire state building, new york design, One World Trade Center, Skyscraper

By MATT CHABAN 4/30 7:02pm

As of today, as you probably already know, 1 World Trade Center reached the historic height of 1,271 feet, eclipsing the Empire State Building and reclaiming its place as the tallest building in the city. In honor of that achievement, the tower will be lit up red, white and blue tonight. The Observer asked Tony Malkin, owner of the iconic tower, what he thought of being No. 2 again.

“The world’s most famous office building, the ancestor of all super-tall towers, welcomes our newer, taller cousin to the skyline,” Mr. Malkin responded in an email. “We’ve watched you grow, and now we salute you.” He signed it as “Empire State Building.”

It is a fitting tribute, if also unusual, considering Empire State Building staff were told not to discuss its “cousin’s” ascent, according to New York magazine.

Meanwhile, Curbed had a rather amusing video of the history-making column rising to the top of 1 World Trade. It underscores both the banality and the eager emotions surrounding this milestone. We have waited so long for that column to be but into place, though it is still just a 26-foot-long piece of structural steel. This is just another construction site, but also the most important one in the world.

One World Trade Center, Now New York’s Tallest Skyscraper

30 Monday Apr 2012

Posted by Y2DC© in Lifestyle

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architecture, empire state building, interior design consultants, New York, One World Trade Center, Skyscraper, WTC

This afternoon, One World Trade Center will pass the Empire State Building as New York’s tallest skyscraper, reclaiming the city’s skyline and reviving the race for height that originated in Manhattan but which was resolved with the building of the World Trade Centerover 40 years ago. In just a few hours, workers are scheduled to install the first column of the 100th floor of the tower’s steel frame, which will rise 1,250 feet in the air, peaking just 21 feet over the crest of the Empire State Building’s observation deck.

 Upon its expected completion in 2014, One World Trade Center will stand 1,776 feet and will become the country’s tallest structure, a title which currently belongs to Chicago’s 1,450 foot-tall Willis Tower (formerly Sears Tower). Much jubilation greeted the announcement for many reasons–the director of the Port Authority giddily anticipated the views from the tower’s future observation platform, while architect David Childs welcomed the progression of construction as a sign towards the eventual rehabilitation of Lower Manhattan’s urban life. Yet, today’s events can hardly be seen as a milestone, says author and chronicler of New York’s skyscrapers Neal Bascomb, who told the NYTimes that the construction is “kind of like competing against a ghost.”

A Wellness House | Belgium

30 Monday Apr 2012

Posted by Y2DC© in Lifestyle

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architecture, interior design, interior design companies, interior design consultants, Wellness House

This house created by the architect Bruno Erpicum is limited to a single level, it is weightless on the water area that separates it from the entrance avenue. To the left, the entrance shows its gallery wall. Descend a level, the construction frames the view over the fields, the countryside is yours.

To the left, behind you, a series of levels interrupted by stairs that stretch outside bring the profile of the site together. To the right, beyond the overhanging part that covers the dining room, the kitchen benefits from a lateral patio that bathes in the morning sun.

Go down further, the garden continues right up to the old trees in front of a swimming pool that is so long that it takes the liberty to fold back into the building through the fault-line freed up under the built-up framework. It is all arranged for one to feel good: exercise, relaxation, cinema room, enological living room with a direct view over the beautiful cars. Here, the heart is in the bowels of the earth.

Four bedrooms complemented with an office on the mezzanine are arranged at the +1 level, the apartment of the owners is organized higher up on the roof, in a vast room devoid of partitions to make the bedroom into a covered terrace when the weather is good.

Here, the heart is in the stars.

Photo art works delivered by Artphotoexpo New York (Carla Gitare, Philippe Robert, Seb Fariak, Walter Chris) and Absolute Art Gallery.

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