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 <hr />文章来源：http://misfitsarchitecture.com/2013/03/15/architectural-myths-5-a-is-to-b-as-b-is-to-ab/<p style="max-width: 100%; min-height: 1em; white-space: pre-wrap; color: rgb(62, 62, 62); line-height: 25.6px; text-align: center; box-sizing: border-box !important; word-wrap: break-word !important; background-color: rgb(255, 255, 255);">翻译：wiku小分队—Petta<p style="max-width: 100%; min-height: 1em; white-space: pre-wrap; color: rgb(62, 62, 62); line-height: 25.6px; text-align: center; box-sizing: border-box !important; word-wrap: break-word !important; background-color: rgb(255, 255, 255);">声明：本文章只用于学习交流，如有纰漏，欢迎指正，未经允许不得转载或用来商业用途。<hr style="max-width: 100%; color: rgb(62, 62, 62); line-height: 25.6px; white-space: normal; box-sizing: border-box !important; word-wrap: break-word !important; background-color: rgb(255, 255, 255);" /> A is to B as B is to A+B建筑谬见之【 A:B = B:(A+B)】(三) By peppering one’s elevations with the Golden Section, it’s possible to be Classical and Romantic/Natural/Organic at the same time. It’s a powerful thing,especially when you’re trying to sneak in new building economies (such as the absence of ornament) under the table. 用黄金比例来设计升降结构不难同时得到古典主义或浪漫主义／自然／田园的风格。尤其是当你想涉入新式建筑经济（比如无装饰）领域的时候，这一点太重要了。 <img id="ledtxt.com" data-s="300,640" data-type="jpeg" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNw7okXj3zuCwgNjSeErbH2w5ex58wrsS8lhzLXmAR0HwWnZdLdF6dypY0slpZsUWnbZv1AnC7heibA/0?wx_fmt=jpeg" data-ratio="0.5289079229122056" data-w="467" /> Colin Rowe’s 1947 essay <a target="_blank" style="font-size: 12px; color: rgb(136, 136, 136); text-decoration: none;">The Mathematics of the Ideal Villa</a> perpetuates the myth of the Golden Proportion and uses it to explicity link Classical architecture, Corbusier and “natural” beauty.  Colin Rowede 在1947年写了篇文章<a target="_blank" style="color: rgb(136, 136, 136); text-decoration: underline; font-size: 13px;">The Mathematics of the Ideal Villa</a> （《理想别墅的数学之道》），文章包含了黄金比例的神话故事，且明确地将古典建筑、柯布西耶和“自然田园”美结合在一起。 <img id="ledtxt.com" data-s="300,640" data-type="jpeg" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNw7okXj3zuCwgNjSeErbH2w6szbOoJgibN3yXePAmAnfVxhJcBGuud6ib4AqmXFibNicKibalL69W0kZpQ/0?wx_fmt=jpeg" style="width: auto; height: auto;" data-ratio="0.9396551724137931" data-w="232" /> Thus, either because, or in spite of theory,both architects share a common standard, a mathematical one, defined by Wren as“natural beauty”; and within the limitations of a particular programme, it is not surprising that the blocks should be of corresponding volume – 8 : 5? : 5.Corbusier has carefully indicated his relationships by regulating lines,dimensions and figures, and over all he places the ratio of the golden section, A : B = B : (A+B). Thus he indicates the ideal with which he would wish his fa?ade to correspond, although in actual fact the figures 3 : 5 = 5 : 8 thusrepresented are only approximate. 因此，无论是这个原因与否，两位建筑师共享了一条普遍的数学准则，被Wren称作“natural beauty（自然美）”，并保持在特定规划之内，街区应按照8 : 5? : 5比例排列。柯布西耶已经通过规划行线、尺寸和图形研究出他们之间的关系，最终得出了黄金比例——A:B=B(A+B)。自此，他认为他的住所外立面理想比例应按此建造，尽管实际比例是3:5=5:8，只得到大约数。 <img id="ledtxt.com" data-s="300,640" data-type="jpeg" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNw7okXj3zuCwgNjSeErbH2wYUGhogXibwuJpH5Rne3ULzTl2SKMlwox0Mbtxy3ibea67IMLZU2suuLw/0?wx_fmt=jpeg" data-ratio="0.32" data-w="300" /> But how natural is all this? The application of the Golden Mean to building plans or fa?ades whether Corbusian, Palladian or Athenian is an example of biomimicry but with no functional advantages to be gained. It is clear that we have a preference for The Golden Section but what we don’t know if it is any of the following. 但这些都有多自然呢？黄金比例在建筑规划当中的应用（无论是柯布西耶、帕拉迪奥还是雅典风格）都是仿生学应用的例子，但毫无功能上的优势。很明显我们偏好黄金比例，但我们是否没注意到以下几个要点： One. Because we are still keen to ape the Greeks? No. 一，因为我们还习惯追随希腊文化？ 不  Various authors discern golden ratio proportions in Egyptian, Sumerian and Greek vases, Chinese pottery, Olmec sculptures, and Cretan and Mycenaean products from the late Bronze Age, which predates by about 1,000 years the Greek mathematicians who were first known to have studied the Golden Ratio. However, the historical sources are obscure, and the analyses are difficult to compare because they employdiffering methods. 多名作者在埃及、苏美尔和希腊花瓶中，中国的诗歌中，奥尔梅克塑像中以及铜器时代以来的克里特岛和迈锡尼产品。铜器时代早于希腊数学家1000年，而这些数学家们是最早研究黄金比例的人。但历史来源还很模糊，分析过程有因为采用了不同的方法而难以做比较。<img id="ledtxt.com" data-s="300,640" data-type="jpeg" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNw7okXj3zuCwgNjSeErbH2wfibAGsoMt35R5L0oEWg1yteGmnHniaichDibZ3JDW2xQnQUGeT76EYJIew/0?wx_fmt=jpeg" data-ratio="0.42318840579710143" data-w="345" /> Two. Maybe we are simply educated to appreciate the Golden Proportion and use it as short hand for “pleasing” or “beautiful”, however meaningless. In other words, it’s a cultural thing. Amongst architects, I suspect this is the case. This is Frings’ conclusion. 二，也许我们只能学会欣赏黄金比例，并将其有限地用于取悦和创造美感，但是如此依赖毫无意义。换句话说，这是文化层面的。博览各位建筑师，我想是这样的，是Frings结论。 For a long time the Golden Section does not occur in architectural theory. It first appears in the 19th century, through Zeising and Fechner, and then rises to a certain fashion in the third and fourth decade of the 20th century, from which Neufert and Le Corbusier get to know it. Neufert held out great hopes for a renewal of architecture through the Golden Mean, but he soon became sober. After early experiments Le Corbusier uses the Golden Section to develop his catalogue of measures, which has — due toroundings and combinations — not much in common either with the Golden Mean or with the Fibonacci series. In fact, Neufert and Le Corbusier seem to use the Golden Section as a way to embellish their own subjective artistic creationby theory and ratio. In any case, the Golden Section certainly does play a role in the writings of these architectural theorists. Prior to the 19th century,however, the Golden Section is simply absent in written architectural theory. 很久以来，其实黄金比例并不属于建筑学理论。最早是19世纪由Zeising和Fechner提出，在20世纪3、40年代的时候掀起一股潮流，Naufert和Le Corbusier就是从那时了解到的。Naufert本有很大希望通过黄金比例复兴建筑，但不久之后就没什么动静了。经过早期一些实验，Le Corbusier运用黄金比例研发了一套自己的测量体系，四舍五入之后，与黄金比例或斐波那契数列不尽相似。实际上，Neufert和Le Corbusier似乎是通过黄金分割的理论和比例来充实自己的主观艺术创作。任何情况下，黄金风格当然在建筑理论家的著作中扮演了重要角色。但19世纪以前，黄金分割从未在书面建筑理论中出现过。 Three. Maybe it’s because our eyes, due to their physiology, actually have a preference for this proportion. In other words,they can’t help it, they’re made that way. This seems increasingly likely. I was looking for some more information on things like the position of the opticnerve vis-á-vis the retina/cornea or something and came across <a target="_blank" style="font-size: 12px; color: rgb(136, 136, 136);">this interesting link</a> about chemical and biological relationships. Treat it with suspicion as it’s very keen to use the term Divine Proportion. <a target="_blank" style="font-size: 12px; color: rgb(136, 136, 136);">This site</a> however, contains some useful-looking information about the relationship between hydrogen bond distances and diffraction patterns in quasicrystals but it only leads to further questions such as “is the cornea a quasicrystal?”. Answer: YES.  Quasicrystals is exciting new stuff. <a target="_blank" style="font-size: 12px; color: rgb(136, 136, 136); text-decoration: none;">The Nobel Prize Committee</a> thinks so. 三，也许是我们眼睛本身生理机能的缘故，他们本身对特定比例有其偏好。换句话说，这是不由自主的，眼睛本身就是这样存在的。这似乎可能性很大。我寻找视网膜或角膜和视神经相对位置的资料时发现了一条从化学和生物层面阐述的<a style="color: rgb(136, 136, 136); text-decoration: underline; font-size: 13px;">链接</a>。文章很喜欢用神圣的比例（Divine Proportion）这种表达，所以阅读时要保持谨慎的态度。但是网址中包含了一些有关氢键距离和准晶体衍射图样关系的有用信息，但信息引发了更多思考，诸如“角膜是否是准晶体？”。答案：是的。 2011 Nobel Prize in Chemistry: ‘Quasicrystals’ Once Thought impossible Have Changed Understanding of Solid Matter 2011年诺贝尔化学奖：曾被认为是不可能存在的“准晶体”改变了人们对固体物质的认识 Oct. 5, 2011 — The Royal Swedish Academy of Sciences has decided toaward the Nobel Prize in Chemistry for 2011 to Daniel Shechtman of the Technion– Israel Institute of Technology in Haifa, Israel, for the discovery of quasicrystals: non-repeating regular patterns of atoms that were once thought to be impossible. 2011年10月5日，瑞典皇家科学院决定将2011年的诺贝尔化学奖颁发给以色列海法以色列理工学院的Daniel Shechtman ，以表彰他发现了曾经被认为是不可能存在的不循环规则运动的原子，准晶体。 <img id="ledtxt.com" data-s="300,640" data-type="jpeg" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNw7okXj3zuCwgNjSeErbH2wVoMAB3EDW0Ndvib0CjFeAhuBtehQq7lAxibibAa7s6aJ4XQNaJqyWvjAA/0?wx_fmt=jpeg" style="width: auto; height: auto;" data-ratio="0.6666666666666666" data-w="300" /> Aperiodic mosaics, such as those found in the medieval Islamic mosaics of the Alhambra Palace in Spain (shown above), have helped scientists understand what quasicrystals look like at the atomic level. In those mosaics, as inquasicrystals, the patterns are regular — they follow mathematical rules — but they never repeat themselves. (Credit: ? cbomers / Fotolia) 非周期性的马赛克图案，比如那些在西班牙的阿尔罕布拉宫找到的中世纪伊斯兰的马赛克（如上图所示），帮助了科学家们了解准晶体在原子层次的结构。图案在那些马赛克里是有规律的，正如在准晶体里的图案里一样－它们按照一定的数学规则－但从不会重复出现相同的图案。(来源: ? cbomers / Fotolia) Moving on though, this next quote, from <a target="_blank" style="font-size: 12px; color: rgb(136, 136, 136);">soicionomics</a> clarifies the link between the Golden Ratio and all biological structures. Sensibly, it refers to the Golden Whatsit as φ (phi). This is probably what I should have been doing all along. 继续往下说，下一个引例来自社会经济学家所证实的黄金比例与所有生物构造的联系。我们很容易就能察觉得到，它就是被称为黄金小玩意的φ (phi)。这大概就是我一直该研究的东西。 <img id="ledtxt.com" data-type="gif" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNw7okXj3zuCwgNjSeErbH2wuGjpBogibnAzWOhTMSRmze1NomERgaBeqFCTkib29LiciaQAA3A6BibenVg/0?wx_fmt=gif" data-ratio="0.6046511627906976" data-w="172" /> The source of all these biological structures is DNA. Given current best measurements, the length of one DNA cycle is 34 angstroms, and its height is 20 angstroms, very nearly producing the Fibonacci ratio .Stanley et al. note parenthetically in their power-lawstudy, “The DNA walk representation for the rat embryonic skeletal myosin heavy chain gene [has a long range correlation of] 0.63,”16 which again although not mentioned in the study is quite close to phi. A bit of data integration, then, shows that living systems are permeated with phi-based structures. 所有生物构造都来源于DNA。根据现在最准确的测量显示，一个DNA环的长34埃，高20埃，十分接近斐波那契比率。斯坦利等人在他们的幂率研究中注明道：“小鼠胚胎的骨骼肌球蛋白的DNA行走表现与基因0.63密切相关。”虽然与φ相似这一点又一次没有在研究中提及，但一些综合数据显示，生物系统里充满了以φ为基础的形态结构。 We can be pretty sure that1.DNA is not trying to look beautiful2.the form of DNA has something to do with the functioning of DNA. 我们可以肯定的是1.DNA并没有试图去变得好看2.DNA的形状与其机能有关 All organic mattercontains φ. If diffraction patterns in the quasi-crystals that make up our retinas cause φ-patterns to somehow resonate or stimulate the retina more than non-φ patterns do, then what we have is a physiological explanation for certain notions of visual beauty. 所有有机物都含有φ。如果组成我们视网膜的准晶体的衍射图像产生的φ图案能引起莫名的共鸣，或者比非φ图案更能刺激视网膜，那么我们就有了一个对视觉美的确切的生理解释。 <hr />声明：本文图文，由wiku编辑整理，仅供个人研究、交流学习使用，不涉及商业盈利目的。如涉及版权问题，请联系本站管理员予以更改或删除。----------------------------------------------<p style="max-width: 100%; min-height: 1em; white-space: pre-wrap; text-align: center; line-height: normal; box-sizing: border-box !important; word-wrap: break-word !important; background-color: rgb(255, 255, 255);">联系小编请加微信wikuwiku<p style="max-width: 100%; min-height: 1em; white-space: pre-wrap; text-align: center; line-height: normal; box-sizing: border-box !important; word-wrap: break-word !important; background-color: rgb(255, 255, 255);">或关注小编公共号whywiku<p style="max-width: 100%; min-height: 1em; white-space: pre-wrap; text-align: center; line-height: normal; box-sizing: border-box !important; word-wrap: break-word !important; background-color: rgb(255, 255, 255);">回复”屁股“了解“Pgu Gallary"计划<img id="ledtxt.com" data-s="300,640" data-type="jpeg" data-ratio="0.25719424460431656" data-w="" width="auto" src="http://img02.store.sogou.com/net/a/05/link?appid=100520091&url=http://mmbiz.qpic.cn/mmbiz/91IlWQyibZNyjaoFjjIgTVA24TMLibjiaBoQia2yvcWBulFSwFovGCGARricyYKTtPW06ex4zYYV70GPvwSLO90sUzw/640?wx_fmt=jpeg" style="box-sizing: border-box !important; word-wrap: break-word !important; width: auto !important; visibility: visible !important;" /> 
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