By Milovanov
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The third reference square is the sacred-cut square of the second and its cuts define the innermost walls of the courtyard buildings (d). The buildings are precisely five times as long as the final sacred-cut square, and their width is equal to its diagonal (e). A superposition of all sacred cuts shows how they unfold from a common center, thereby emphasizing the major east-west axis of the complex (/). The sacred cut appears to have been used to proportion the design at all scales from the overall dimensions of the courtyard to the individual buildings to the rooms within each building and even to the tapestries on the wall.
1, which depicts the living compound of the Fali tribe of Africa and is shaped like the human torso [Guidoni, 1978]. We will show how people of various eras endeavored to satisfy these canons of design and will concentrate on how two systems succeeded to some measure in satisfying the canons of proportion. The first system was developed in antiquity and used by Roman architects, and the other was developed in the twentieth century by the French architect Le Corbusier. " As pointed out by Matila Ghyka 119781, Greek philosophers, and in particular Pythagoras, endowed natural numbers with an almost magical character.
If a and b are both integers (and they can always be taken to be integers by scaling the rectangle), k is what mathematicians call the greatest common divisor (GCD) symbolized by k = {a,b}. When integers a and b have no common divisor but 1, A = 1 and a and b are said to be relatively prime. So we see t h a t m and n are merely the integers in the representation of alb in lowest terms. 4) that k is the side length of the congruent squares. 5) for m and n integers, always has solutions when d is a multiple of the GCD {a,b} [Courant and Robbins, 1941].