1.61803398875 Design Hoax?

1.61803398875 Design Hoax?
Is the Golden Ratio Fact or Fiction? 

I've already posted a video lecture by Stanford Mathematics Professor, Keith Devlin titled Mathematical Thinking, it discussed where the Golden Ration has proved valid and where it was a complete fiction... 

There have been several articles also posted on the subject entailing that the famous Golden Ratio is a complete historical design hoax! that was passed on by many architects, builders and made an ideal of by many throughout history!? With no scientific background what so ever...
Following will embed article share by Co.Design & Arch Daily 
Enjoy...

The Golden Ratio: Design’s Biggest Myth

The golden ratio is total nonsense in design. Here’s why.

BY JOHN BROWNLEE8 MINUTE READ

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.

It’s bullshit. 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.

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.

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.”

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.

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 Berkeley found 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 favorite.

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.

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.”

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.

https://www.fastcodesign.com/3044877/the-golden-ratio-designs-biggest-myth

Is the Golden Ratio Design's Greatest Hoax?

• 12:00 - 15 April, 2015
 
• by Patricia Arcilla

For more than 150 years, the Golden Ratio has been one of the main tenets of design, informing generations of architects, designers, and artists. From Le Corbusier to Apple, Vitruvius to Da Vinci, the ratio purportedly dictates which forms will be found aesthetically pleasing.  Yet mathematicians and designers have grown skeptical of the practical applications of the Golden Ratio, with Edmund Harriss of the University of Arkansas' mathematics department putting it at its most simple: "It is certainly not the universal formula behind aesthetic beauty." Writing for Fast Co. Design, John Brownlee collates sources as diverse as the mathematics department at Stanford University to Richard Meier, laying out the case against what may just be design's greatest hoax. Read the full article here.

https://www.archdaily.com/619965/is-the-golden-ratio-design-s-greatest-hoax?ad_medium=widget&ad_name=most-visited-article-show

embracing it...

https://www.youtube.com/watch?v=VK90s8wMyyo&index=3&list=PLABE41A0C254CD1D5

BBC Universe Documentary The Great Math Mystery BBC Documentary

Fibonacci Melody: Greg Sheehan at TEDxSydney

Greg Sheehan is one of Australia's premier and most innovative percussionists widely regarded internationally as a leader in his field. As a performer, he is significantly represented in the last three decades of Australian contemporary music as both a live band member and studio musician on hundreds of recordings. Greg has created a melody from the first 8 numbers in the Fibonacci sequence and performs it in the Concert Hall of the Sydney Opera House for TEDxSydney 2013. In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)

The Secret Mathematicians - Professor Marcus du Sautoy

Professor du Sautoy examines the way that Mathematics has overtly and covertly inspired some of the greatest artists. He examines how they might be considered as secret mathematicians: http://www.gresham.ac.uk/lectures-and... From composers to painters, writers to choreographers, the mathematician's palette of shapes, patterns and numbers has proved a powerful inspiration. Artists can be subconsciously drawn to the same structures that fascinate mathematicians as they hunt for interesting new structures to frame their creative process.

Professor du Sautoy will explore the hidden mathematical ideas that underpin the creative output of well-known artists and reveal that the work of the mathematician is also driven by strong aesthetic values. The transcript and downloadable versions of the lecture are available from the Gresham College Website: http://www.gresham.ac.uk/lectures-and... Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 1,500 lectures free to access or download from the website. Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege

Design X ::: remote conference on design and exclusion

https://x.design.blog/transcript/

https://x.design.blog/audio/

https://x.design.blog/

https://x.design.blog/articles/

https://aformalarchitecturemena.tumblr.com/

An Urban Story

PAPER CITY  

Published on Oct 9, 2014

As part of its Urban October celebrations, UN-Habitat has launched “Paper City”, a stop-motion video animation portraying today’s urban challenges using a paper and cardboard mock city.

Aimed at an audience not yet familiar with urbanization processes, the video intends to draw attention on current issues caused by rapid and uncontrolled city growth. It points out possible urban solutions in a visual and attention-captivating way that is fun and easy to understand.

The video was done using a stop-motion technique. Over 1500 photo stills where taken of a 4 sqm mock city including buildings, streets, trees, cars and people made out of paper, cardboard and polystyrene. The frames were then added together to create motion.

The “Paper City” video is currently available on UN-Habitat’s website (unhabitat.org) and on YouTube.

Visit unhabitat.org/papercity for more information

Design Build Transform

Design Build Transform http://www.ifyoubuilditmovie.com/

Published on Jun 8, 2015

If You Build It spends a year in the life of one of America's most innovative classrooms.

"There’s something cool about solving problems, especially those really tricky, complex ones. If you meet someone who’s truly great at problem solving, you find they have a tendency to inspire those around them. They’re smart, often funny, and almost always strong, confident, wonderfully infectious individuals.

They’re the kinds of people who would make great teachers.

When Christine and I first heard about designer Emily Pilloton and her partner, architect Matt Miller, we were immediately drawn to them. Our friend Neal Baer had read a book by Emily called Design Revolution, which featured one hundred radical new ideas by designers from around the world that were changing people’s lives. One example is a genetically engineered flower that, when planted in an area that was filled with buried landmines, changed colors when it touched metal. There are do-it-yourself solar panel kits that bring lights to remote villages, water cups made from clay and organic material that purify water and fight disease, and eye glasses that allow the user to adjust to their own needs without a trip to the optometrist.

Emily and Matt both believe that great design—which is really just great problem solving—can change the world. Unfortunately, the people and places that are most in need of improvement often don't have access to designers and architects. Only two percent of the people in the world ever hire a designer or an architect. The world we live in is primarily someone else’s creation, so it’s difficult to feel true ownership of our own surroundings.

That’s why for years Emily and Matt worked hard to bring great design and creative problem solving to communities in need. They were especially careful to listen to those they worked with, and to include input from the community when new projects were designed and built and implemented. And although they were doing incredible work in communities all around the world, they recognized that there was only so much work they could handle. “These people don’t need us, they need our skill sets,” said Emily. That’s about the time their phone rang.

It was Chip Zullinger, a renegade school superintendent from Bertie County, NC, the poorest county in the state. Dr. Zullinger believed that if he could bring Matt and Emily to Bertie County and unleash the power of creative problem solving in a high school classroom, together they might be able to address some of the community’s most pressing challenges. “Would you two be willing to take everything you know how to do and teach it to our high school students?”

Emily and Matt immediately said yes, quickly created a design-build curriculum they called “Studio H,” and just weeks before the first day of class we were in North Carolina shooting what would become IF YOU BUILD IT.

Bertie County is the poorest county in North Carolina and faces countless challenges: high drop-out rates among high schoolers, high unemployment, stagnant education opportunities, high obesity rates, and a lack of access to fresh produce at reasonable prices. Those were just a few of the challenges. Emily and Matt would have been naive to think that their classroom and their students could have solved all of the problems that exist in Bertie County. But of course, that was never the goal. What Studio H was designed to do is plant small seeds and know-how in the students who participated in the class, and by doing so develop a new resource—a new generation of creative problem solvers—that could address some of these challenges in the near future with a new skill set.

We knew early on in the process that we would not (and should not) be able to shoot every day in the classroom. But we also knew that there were bound to be moments during the year that could be helpful in telling this story. So we as filmmakers did something we had never done before: we put cameras into the hands of the students and taught them how to tell their own stories. One student, Jamesha Thompson, was particularly good at shooting video and asking questions. We began to refer to her as the “Barbara Walters” of Studio H. When something important was happening in the classroom that we couldn’t document, we knew we could rely on Jamesha to get the story. This filmmaking technique felt especially appropriate because it was so similar to the Studio H approach; by inviting the students to take ownership of telling their own stories, we were able to create a much more honest and intimate portrayal of what occurred throughout the school year. Much of the footage Jamesha shot is in the final version of the film, and she became fond of saying, “I love the camera, and the camera loves me!”

The making of IF YOU BUILD IT was an extraordinary learning experience for Christine and me. Not only was this a challenging film to produce and an extremely nuanced and difficult story to tell, the lessons that all of us learned in Studio H—students, teachers, and filmmakers—went far beyond the lessons of how to design and build things. What we also learned is that schools need to be what we as parents and educators and students decide they should be, that we as a nation are relying far too heavily on on-line education, that real change can’t occur unless there is shared ownership in the new solutions that are being created to address our most challenging problems, and, perhaps most importantly, that there is a designer inside each of us that just needs a little encouragement to grow and develop.

Bertie County, NC is 2,600 miles from our home in California, and yet this always felt like a very personal story for Christine and me. Our three kids go to public schools in Los Angeles, so we understand the challenges and the potential that public education has to offer. We felt from the beginning that Emily and Matt and their students would make for an interesting story. What we didn’t realize was that it would become such a universal story, resonating with parents, students, and educators far outside Bertie County limits.

Imagine a world with better, more creative problem solvers. That’s what Studio H is about, that’s what IF YOU BUILD IT is really about, and that’s why we are so thrilled to share it with others."

—Patrick Creadon, Director

http://www.ifyoubuilditmovie.com/about/directors-statement.html

IF YOU BUILD IT (Official Trailer) from OCP Media on Vimeo.

From the director of WORDPLAY and I.O.U.S.A. comes a captivating look at a radically innovative approach to education. IF YOU BUILD IT follows designer-activists Emily Pilloton and Matthew Miller to rural Bertie County, the poorest in North Carolina, where they work with local high school students to help transform both their community and their lives. Living on credit and grant money and fighting a change-resistant school board, Pilloton and Miller lead their students through a year-long, full-scale design and build project that does much more than just teach basic construction skills: it shows ten teenagers the power of design-thinking to re-invent not just their town but their own sense of what's possible.

Directed by Patrick Creadon and produced by Christine O’Malley and Neal Baer, IF YOU BUILD IT offers a compelling and hopeful vision for a new kind of classroom in which students learn the tools to design their own futures.

Noetic ::: Sidi Larbi Cherkaoui

Multiple award winning and constantly topical Sidi Larbi Cherkaoui creates Noetic, along with a distinguished team comprising sculptor Antony Gormley, fashion designer duo Les Hommes, and composer Szymon Brzóska. The creation explores man’s instinctive need to structure every detail of our existence, and our longing to break free of the rules and discover what lies beyond them. With at times mechanical, at times flowing, classical movements, the dancers construct, change and deconstruct reality.

Sidi Larbi Cherkaoui’s roots are in the cultures of both Morocco and Central Europe. His artistic identity has been influenced by many years of involvement in the Belgian dance company Les Ballets C de la B, whose work belongs among the most exciting things to have happened within dance in recent decades.

Cherkaoui is known for bringing together art forms, cultures and traditions. His dance company, Eastman, is attributed the title of European cultural ambassadors in 2013. The harmonic and emotional music in Noetic is composed for The Göteborg Opera Orchestra.

Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture in the seventies through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Antony Gormley and Sidi Larbi Cherkaoui have collaborated on three previous projects; Sutra, Babel and Zero Degrees. His set design for Noetic will give the dancers both bodily extensions and the constructive elements to create a potential architecture for individual and collective action.

http://en.opera.se/forestallningar/spirit-2013-2014/

http://www.east-man.be/en/14/69/Noetic

Noetic explores man’s instinctive need to structure every detail of our existence, and our longing to break free of the rules and discover what lyes beyond them. The dancer´s movements in Noetic are mechanical and automated in appearance. Larbi wants to show the audience how we create structure for and to one another. They build, change and deconstruct reality.

The word "noetic" comes from the Greek word noetikos which means "intuitive mind" or "inner ability". Edgar Mitchell, the American astronaut, who founded The Institute of Noetic Sciences dedicated to research the role of consciousness in human evolution, revived the use of the word.

The set is designed by widely acclaimed artist Antony Gormley. It will give the dancers both bodily extensions and the constructive elements to create a potential architecture for individual and collective action. The harmonic and emotional music is composed by Szymon Brzóska for the Göteborg Opera Orchestra led by Henrik Schaefer. Percussionist Shogo Yoshii brings a flavor of traditional Japanese music to the creation. Miriam Andersén, Swedish singer and "riksspelman" will take part in Noetic as a vocal soloist. Costume design by Belgian fashion design team Les Hommes.

Premiere: 08 March 2014, The Göteborg Opera - Göteborg (SE)

Choreography

Sidi Larbi Cherkaoui

Music composition

Szymon Brzóska

Conductor

Henrik Schaefer

Set design

Antony Gormley

Costume design

Les Hommes

Light design

David Stokholm

Dramaturgy

Adolphe Binder

Live music

Miriam Andersén, Shogo Yoshii, Göteborg Opera Orchestra

Assistant choreography

James O’Hara, Helder Seabra, Elias Lazaridis

Dance

GöteborgsOperans Danskompani

Photography

Tilo Stengel

Last modified: 27 May 2014

AR interviews ::: Farshid

Interview with Farshid Moussavi (at) AR

Published on Feb 2, 2015

Farshid Moussavi is director of Farshid Moussavi Architecture and Professor-in-Practice at Harvard GSD. In this in-depth interview she discusses her education, inspirations and career from interning with Zaha Hadid to publishing the Function series of books – a critical analysis of the role of ornament, form and style in architecture.

RA

Rebel Architecture Series by Aljazeera news agency 

Published on Aug 19, 2014

Santiago Cirugeda is a subversive architect from Seville who has dedicated his career to reclaiming urban spaces for the public.In austerity-hit Spain where the state has retreated and around 500,000 new buildings lie empty, "people are doing things their own way," says Cirugeda. "In times of crisis, people come together to find collective solutions."So, can Spanish self-build legend Santiago Cirugeda turn an abandoned factory into a vibrant cultural centre?

At Al Jazeera English, we focus on people and events that affect people's lives. We bring topics to light that often go under-reported, listening to all sides of the story and giving a 'voice to the voiceless.'
Reaching more than 270 million households in over 140 countries across the globe, our viewers trust Al Jazeera English to keep them informed, inspired, and entertained.
Our impartial, fact-based reporting wins worldwide praise and respect. It is our unique brand of journalism that the world has come to rely on.
We are reshaping global media and constantly working to strengthen our reputation as one of the world's most respected news and current affairs channels.

Published on Sep 9, 2014

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Vo Trong Nghia attempts to return greenery to Vietnam's choking cities and design affordable homes for poor communities.

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At Al Jazeera English, we focus on people and events that affect people's lives. We bring topics to light that often go under-reported, listening to all sides of the story and giving a 'voice to the voiceless.'
Reaching more than 270 million households in over 140 countries across the globe, our viewers trust Al Jazeera English to keep them informed, inspired, and entertained.
Our impartial, fact-based reporting wins worldwide praise and respect. It is our unique brand of journalism that the world has come to rely on.
We are reshaping global media and constantly working to strengthen our reputation as one of the world's most respected news and current affairs channels.

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Published on Sep 16, 2014

Architect Kunle Adeyemi sets out to solve the issues of flooding and overcrowding in Nigeria's waterside slums.

Published on Sep 2, 2014
Eyal Weizman explains architecture's key role in the Israeli occupation of Palestine and the evolution of urban warfare.

At Al Jazeera English, we focus on people and events that affect people's lives. We bring topics to light that often go under-reported, listening to all sides of the story and giving a 'voice to the voiceless.'
Reaching more than 270 million households in over 140 countries across the globe, our viewers trust Al Jazeera English to keep them informed, inspired, and entertained.
Our impartial, fact-based reporting wins worldwide praise and respect. It is our unique brand of journalism that the world has come to rely on.
We are reshaping global media and constantly working to strengthen our reputation as one of the world's most respected news and current affairs channels.

Published on Aug 26, 2014

Pakistani architect Yasmeen Lari uses local building techniques to rebuild villages in the flood-stricken Sindh region.

Published on Sep 23, 2014
Informal builder Ricardo de Oliviera struggles with the government's plan for the future of Rio's Rocinha favela.

At Al Jazeera English, we focus on people and events that affect people's lives. We bring topics to light that often go under-reported, listening to all sides of the story and giving a 'voice to the voiceless.'
Reaching more than 270 million households in over 140 countries across the globe, our viewers trust Al Jazeera English to keep them informed, inspired, and entertained.
Our impartial, fact-based reporting wins worldwide praise and respect. It is our unique brand of journalism that the world has come to rely on.
We are reshaping global media and constantly working to strengthen our reputation as one of the world's most respected news and current affairs channels.