10 »Ciertamente les aseguro que el que no entra por la puerta al redil de las ovejas, sino que trepa y se mete por otro lado, es un ladrón y un bandido. 2 El que entra por la puerta es el pastor de las ovejas. 3 El portero le abre la puerta, y las ovejas oyen su voz. Llama por nombre a las ovejas y las saca del redil. 4 Cuando ya ha sacado a todas las que son suyas, va delante de ellas, y las ovejas lo siguen porque reconocen su voz. 5 Pero a un desconocido jamás lo siguen; más bien, huyen de él porque no reconocen voces extrañas».
6 Jesús les puso este ejemplo, pero ellos no captaron el sentido de sus palabras. 7 Por eso volvió a decirles: «Ciertamente les aseguro que yo soy la puerta de las ovejas. 8 Todos los que vinieron antes de mí eran unos ladrones y unos bandidos, pero las ovejas no les hicieron caso. 9 Yo soy la puerta; el que entre por esta puerta, que soy yo, será salvo.[a] Se moverá con entera libertad,[b] y hallará pastos. 10 El ladrón no viene más que a robar, matar y destruir; yo he venido para que tengan vida, y la tengan en abundancia.
11 »Yo soy el buen pastor. El buen pastor da su vida por las ovejas. 12 El asalariado no es el pastor, y a él no le pertenecen las ovejas. Cuando ve que el lobo se acerca, abandona las ovejas y huye; entonces el lobo ataca al rebaño y lo dispersa. 13 Y ese hombre huye porque, siendo asalariado, no le importan las ovejas.
14 »Yo soy el buen pastor; conozco a mis ovejas, y ellas me conocen a mí, 15 así como el Padre me conoce a mí y yo lo conozco a él, y doy mi vida por las ovejas. 16 Tengo otras ovejas que no son de este redil, y también a ellas debo traerlas. Así ellas escucharán mi voz, y habrá un solo rebaño y un solo pastor. 17 Por eso me ama el Padre: porque entrego mi vida para volver a recibirla. 18 Nadie me la arrebata, sino que yo la entrego por mi propia voluntad. Tengo autoridad para entregarla, y tengo también autoridad para volver a recibirla. Este es el mandamiento que recibí de mi Padre».
19 De nuevo las palabras de Jesús fueron motivo de disensión entre los judíos. 20 Muchos de ellos decían: «Está endemoniado y loco de remate. ¿Para qué hacerle caso?» 21 Pero otros opinaban: «Estas palabras no son de un endemoniado. ¿Puede acaso un demonio abrirles los ojos a los ciegos?»
Génesis 35:1 Dijo Dios a Jacob: Levántate y sube a Bet-el, y quédate allí; y haz allí un altar al Dios que te apareció cuando huías de tu hermano Esaú. 35:2 Entonces Jacob dijo a su familia y a todos los que con él estaban: Quitad los dioses ajenos que hay entre vosotros, y limpiaos, y mudad vuestros vestidos. 35:3 Y levantémonos, y subamos a Bet-el; y haré allí altar al Dios que me respondió en el día de mi angustia, y ha estado conmigo en el camino que he andado. 35:4 Así dieron a Jacob todos los dioses ajenos que había en poder de ellos, y los zarcillos que estaban en sus orejas; y Jacob los escondió debajo de una encina que estaba junto a Siquem. 35:5 Y salieron, y el terror de Dios estuvo sobre las ciudades que había en sus alrededores, y no persiguieron a los hijos de Jacob. 35:6 Y llegó Jacob a Luz, que está en tierra de Canaán (esta es Bet-el), él y todo el pueblo que con él estaba. 35:7 Y edificó allí un altar, y llamó al lugar El-bet-el, porque allí le había aparecido Dios, cuando huía de su hermano. 35:8 Entonces murió Débora, ama de Rebeca, y fue sepultada al pie de Bet-el, debajo de una encina, la cual fue llamada Alón-bacut. 35:9 Apareció otra vez Dios a Jacob, cuando había vuelto de Padan-aram, y le bendijo. 35:10 Y le dijo Dios: Tu nombre es Jacob; no se llamará más tu nombre Jacob, sino Israel será tu nombre; y llamó su nombre Israel. 35:11 También le dijo Dios: Yo soy el Dios omnipotente: crece y multiplícate; una nación y conjunto de naciones procederán de ti, y reyes saldrán de tus lomos. 35:12 La tierra que he dado a Abraham y a Isaac, la daré a ti, y a tu descendencia después de ti daré la tierra. 35:13 Y se fue de él Dios, del lugar en donde había hablado con él. 35:14 Y Jacob erigió una señal en el lugar donde había hablado con él, una señal de piedra, y derramó sobre ella libación, y echó sobre ella aceite. 35:15 Y llamó Jacob el nombre de aquel lugar donde Dios había hablado con él, Bet-el. 35:16 Después partieron de Bet-el; y había aún como media legua de tierra para llegar a Efrata, cuando dio a luz Raquel, y hubo trabajo en su parto. (RAQUEL SIGNIFICA OVEJA. "EL PASTOR", TIENE OBVIAMENTE UN MARCO SEXUAL) 35:17 Y aconteció, como había trabajo en su parto, que le dijo la partera: No temas, que también tendrás este hijo. 35:18 Y aconteció que al salírsele el alma (pues murió), llamó su nombre Benoni; mas su padre lo llamó Benjamín. 35:19 Así murió Raquel, y fue sepultada en el camino de Efrata, la cual es Belén. (EL PATRON SIRIO, TIENE ESTA CONNOTACION, OSEA LA ESTRELLA DE BETHLEHEN, OSEA UNA REFERENCIA A RAQUEL, LA ESPOSA AMADA DE JACOB, MADRE DE BENJAMIN. AQUI TIENE ORIGEN EL MITO DE LA LUNA LLENA Y EL LOBO)
Génesis 49:27: Benjamín es LOBO arrebatador; A la mañana comerá la presa, Y a la tarde repartirá los despojos. 35:20 Y levantó Jacob un pilar sobre su sepultura; esta es la señal de la sepultura de Raquel hasta hoy.
35:20 Y levantó Jacob un pilar sobre su sepultura; esta es la señal de la sepultura de Raquel hasta hoy. 35:21 Y salió Israel, y plantó su tienda más allá de Migdal-edar. (ALLI CLARAMENTE ESTA EL NEXO CON LA TORRE. INCLUSO EN EL MARCO A GENESIS 37, AL SUEÑO DE JOSE ESPECIFICAMENTE, JACOB ES EL SOL Y RAQUEL, LA LUNA, DANDOLE AL ESPACIO/TIEMPO CLARAMENTE UN MARCO SEXUAL. TORRE/MIGDAL/MAGDALA/BABILONIA/ PUERTA DE DIOS/ PORTAL ESPACIO/TIEMPO)
The motivation for the relocation of the fountain in Washington Square Park now begins to become a little clearer.
The fountain is also part of thisensembleof architectural elements which make up theritual spaceor temple to Isis which has been overlaid on New York, including the Washington Square Arch, the Statue of Liberty and the WTC complex. The position of the fountain has acted to mark the intended alignment relationships between the Arch and the Statue originally, and then later between the Arch and the WTC. By going to such lengths to move the fountain, whoever is behind all this, (and we will come to that), have drawn attention to, and confirmed, the existence of these alignment relationships. Moving the fountain shows that there is intent behind the relative positioning of the elements of the ensemble.
In a sense, it's like a giant machine. Perhaps a time machine. It's as though the fountain acts as a kind of "switch", which is moved from an initial position, to a latter position. Or perhaps a pointer on a dial, or the hands on a clock, being moved to indicate that an event has occurred or a ritual has been successfully accomplished.
We'll come back to these thoughts, but I want to focus now on the major alignment of these ritual spaces we're exploring, and that is of course the main axis defined by the Arch, in the respective two cities.
In New York, this means the alignment from Washington Square Arch, through the new fountain position, to the WTC complex.
We've now seen that this is intended as a double, or twin, to the major Paris axis, the Champs Elysées, on which lie the Arc de Triomphe, the Arc du Carrousel, and the Luxor Obelisk.
Symbolically, then, the NY axis is equivalent to the Paris axis.
With this in mind, recall that the Champs Elysées is aligned to the rising of Sirius.
These are images of the morning sky in Paris, just before 6am, on August 31, 1997, at the momnet the announcement of the death of Diana was made to the world by the French authorities. Sirius is rising, on the axis of the Arc de Triomphe, and the tiny crescent of the last day of the harvest moon has also just risen, and hangs over the north east horizon.
Recall also that Isis is represented by Sirius.
Quote:
It is established for certain that Sirius was sometimes identified by the ancient Egyptians with their chief goddess Isis.
So, now, if the key to the axis through the Arc de Triomphe is that it aligns to the rising of Isis/Sirius, and if the pattern in Paris is reproduced in New York, then that implies that, symbolically, the Washington Square Arch - Wtc alignment is also a Sirius rising alignment.
Let's be careful and clear here: the Sirius-rising alignment is "real" in Paris, in that Sirius really does rise on that line, but it is symbolic in New York.
To be clear, Sirius does not actually rise on the Arch-WTC alignment as viewed from New York, but now that we know that this axis is the twin of the Champs Elysées, then symbolically, it becomes by association: a Sirius rising line.
So although you can never see this scene in "reality", in your imagination, you can picture the star Sirius rising between the Twin Towers, as viewed from the Washington Square Arch.
That is a very powerful symbolic image. Sirius, between the Two Towers.
Or Isis, between the Two Pillars, as in the High Priestess tarot card.
The High Priestess card can be read as asymbolic diagram of the secret plan behind the 9/11 ritual.
En aquel tiempo, respondiendo Jesús, dijo: Te alabo, Padre, Señor del cielo y de la tierra, que hayas escondido estas cosas (la Gnosis, la Sabiduría Oculta) de los sabios (de los eruditos) y de los entendidos, (de los intelectuales) y las hayas revelado á los niños. (A los Iniciados). Así, Padre, pues que así agradó en tus ojos." (Mateo 11: 25-26). (El cielo y la tierra, es la alquimia, osea la ESCALERA DE JACOB. La cuadratura del circulo es el patron matematico de la alquimia y esta basado, insisto, en el numero de oro. Justamente Salomon es un tipo del GRIAL.)
"¡Oh profundidad de las riquezas de la sabiduría (sophia) y de la ciencia (gnwsiV, gnosis) de Dios! ¡Cuán incomprensibles son sus juicios, e inescrutables sus caminos!" (Romanos, 11: 33). (Camino es una referencia a MERCURIO y Juicio es una referencia a ORION=ESPADA. EL NUMERO 33 NO ESTA POR CASUALIDAD. ES UNA REFERENCIA A LA ESTRELLA DE 6 PUNTAS. OSEA QUE EN LA MISMA PALABRA ESTA CODIFICADA LA RELACION ORION-MERCURIO-VIA LACTEA. PENSAR QUE HAY IGNORANTES QUE DICEN QUE LOS ESCRITORES DE LA BIBLIA NO CONOCIAN EL PI. ESA ES LA SOBERBIA DEL SER HUMANO QUE SE CREE TENER MAS DERECHOS QUE EL CREADOR. ASI ESTA EL MUNDO. SOLO EN JESUCRISTO ESTA LA VERDADERA LIBERACION DE LA EGOLATRIA, IDOLATRIA Y DEL PECADO.)
ESPADA=ORION
This shows Mercury's Inferior Conjunctions with Earth which make a triangle.
Now here are Mercury's Superior Conjunctions with Earth that make an inverted triangle.
Here is what we get when both of these synodic periods are added together. The star of David.
33 SIMBOLIZAN A LOS DOS TRIANGULOS (INFERIOR Y SUPERIOR)
The MRO 2.4-meter (7.9 ft) telescope is a Nasmyth design on an azimuth-elevation (az-el) mount. The telescope is capable of slew rates of 10 degrees per second, enabling it to observe artificial objects in low Earth orbit. The telescope is also used for asteroid studies and observations of other solar system objects.[4]The MRO 2.4-meter achieved first light on October 31, 2006, and began regular operations on September 1, 2008, after a commissioning phase that included tracking near-Earth asteroid 2007 WD5 for NASA.[5]
The telescope's primary mirror has a complicated history. It was built by Itek as part of a competition for the contract for the Hubble mirror (although it has a different prescription than the one used to construct the Hubble). When Perkin-Elmer was chosen instead as the Hubble contractor, the mirror was passed to a classified Air Force project. When this project was in turn discontinued, the mirror was transferred to the Magdalena Ridge Observatory, along with a blank for the secondary.[6][7]
As of May 2008, the facility is under a multi-year contract with NASA to provide follow-up astrometry and characterization data on near-Earth asteroids and comets as part of Spaceguard, and also collaborates with the Air Force to track and characterize satellites in GEO and LEO orbits.[8] On October 9, 2009, New Mexico Tech scientists used instruments on the MRO 2.4-meter and at the Etscorn Campus Observatory to observe controlled impacts of two NASA Centaur rockets at the southern polar region of the moon as part of the LCROSS Project.[9][10]
On October 23, 2015, it was announced that the MRO telescope will receive funding from the Federal Aviation Administration (FAA) in early 2016 to monitor the launch and re-entry of commercial space vehicles from Spaceport America.[11]
The Magdalena Ridge Optical Interferometer (MROI) is an optical and near infraredinterferometer under construction at MRO. When the MROI is completed, it will have ten 1.4 m (55 in) telescopes located on three 340 m (1,120 ft) arms. Each arm will have nine stations where the telescopes can be positioned, and one telescope can be positioned at the center. The telescopes and their enclosures will be moved with a customized crane. Light from the telescopes' primary mirrors will be directed along the arms to the Beam Combining Facility (BCF). These pipes will be evacuated of all air in order to reduce distortions. Inside the BCF, the light will first travel through extensions of the pipes in the Delay Line Area, which will bring the light beams into phase. Then light will exit the vacuum pipes in the Beam Combining Area (BCA), where the light will be directed into one of three permanent sensors, or to a temporary instrument on a fourth table. The light will strike a total of eleven mirrors before entering a sensor.
The basic design of MROI was completed in 2006. Construction of the facility began in August 2006 with the BCF building, which was completed in 2008. In July 2007, the contract for the design of the ten 1.4 m telescopes was awarded to Advanced Mechanical and Optical Systems S.A. (AMOS) of Belgium. In 2009 the design of the infrastructure of interferometer arms was completed, as was the design for the telescope enclosures. In 2010 construction of the arms began. Also in 2010 the first delay line was installed in the BCF.[13]
On October 19, 2015, New Mexico Tech signed a five-year, $25 million cooperative agreement with the Air Force Research Laboratory to support continued development of the interferometer at the observatory. Dr. Van Romero, Vice President of Research at Tech, said the new funding will allow the completion of three telescopes, mounts and enclosures on the mountaintop facility.[14]
New Mexico Exoplanet Spectroscopic Survey Instrument[edit]
The New Mexico Exoplanet Spectroscopic Survey Instrument (NESSI) is a ground-based instrument specifically designed to study the atmospheres of exoplanets.[15][16] The $3.5 million instrument is the first purpose-built device for the analysis of exoplanet atmospheres,[17] and is expected to have a powerful impact on the field of exoplanet characterization.[18]
The Principal Investigator is Michele Creech-Eakman at the New Mexico Institute of Mining and Technology, working with seven co-investigators.[18] The NESSI instrument was mounted on the observatory's 2.4 meter telescope. The instrument's first exoplanet observations began in April 2014.
Sapientia Aedificavit Sibi Domum. Es decir, "la sabiduría ha edificado aquí su casa". Resulta curioso que la misma frase aparece en el Evangelio de María Magdalena, un texto apócrifo. Se dice que en el interior de esta iglesia y de otras muchas de Venecia está escondido el tesoro de los templarios. Pero no hay ninguna prueba de ello. Para terminar ya con esta entrada me gustaría que nos acercásemos un momento a uno de los edificios más emblemáticos de Venecia: el Palacio Ducal.
"¡Oh profundidad de las riquezas de la sabiduría (sophia) y de la ciencia (gnwsiV, gnosis) de Dios! ¡Cuán incomprensibles son sus juicios, e inescrutables sus caminos!" (Romanos, 11: 33).
The height of the Statue of Liberty is 111′-1″ from bottom of foot to top of head. The 7 rays on the crown and the 11 points of the base star echo the proportions of the Great Pyramid’s 7:11 height to base proportion. The superb book Talisman by Graham Hancock and Robert Bauval convincingly shows this goddess is actually the Egyptian Isis.
Image courtesy Elcobbola under the Creative Commons Attribution-Share Alike 3.0 Unported license.
http://www.viewzone.com/onstott66.html
MONTSEGUR VOLCAN/CAN / TEOTIHUACAN / VATICANO / CANA/ AMERICAN/ MEXICAN/ CAN MAYOR (SIRIO)- BODAS DE CANA
Location
Montségur is in the Ariege, in the foothills of the Pyrenees, not far from Lavelanet, due South from Mirepoix.
Montségur lies at 42°52'35" N, 1°49'51" E on a pog (a volcanic pluton) at an altitude of 1,207 meters. The castle is owned by the Commune of Montségur. There is an entrance fee, which also covers entry to a museum in the nearby town.
I.M. Pei’s Louvre pyramid connects the vast wings of the museum to one central location. Most of the space is buried underground, keeping the visual attention on the historic palace.
Was Napoleon’s monument to freedom Elephant of the Bastille a factor in the design? Did astrology form the shapes and arrangement? Johann Kepler charted horoscopes using this same form, and related it to profound scientific laws. Gender is also seen by many in the upright and inverse pyramids. The Louvre, in the heart of Paris, fixes all the problems with Modernism. The shocking form fits in because it was derived by careful study and with thoughtful purpose.
A quick walk a modern obelisk, the Eiffel tower, leads to the Arc de Triumph, copied from ancient Rome. A straight line from there leads to an ancient Roman obelisk, and immediately to the Louvre.
I.M. Pei’s 1989 design for the Pyramide du Louvre at the historic Louvre Palace in Paris France starts with architecture’s most significant symbol: the pyramid. A tunnel descends into structure like the ancient pyramids of Egypt.
The museum spans the entire history of mankind, and so the pyramid itself assumes a futuristic character. Its transparent materials achieve this futurism while opening views to the building surrounding it, and opening natural sunlight into the front lobby. A rather ingenious tension structure is holds the pyramid up.
The La Pyramide Inversée inverted pyramid has been made famous by the Da Vinci Code. But this is just one element of this enormous project, which takes more than a week to properly visit.
Procession To Democracy
Pei’s concept sketches show two axis. The first runs through the park to the Arc de Triumph du Carrousel. Here it meets another tilted axis, which continues on into the Louvre. This Axe Historique is the strongest site axis in the world, extending through central Paris to the city’s modern quarter.
This tilting of spaces at the Arc de Triumph and the pyramid keeps the composition unified yet unexpected.
In 1833, a column stood where the pyramid now stands. A third axis tilts slightly as it extends from this point on to the east. This third axis extended to the Place de la Bastillewhere a similar column was constructed in 1835 to commemorate the revolution against King Charles X.
The July column at the Place de la Bastille replaced the Elephant of the Bastille, which gives insight into the meaning of the Louvre pyramid. The Elephant was a large structure atop a fountain, which people could enter through a staircase and walk around inside, as with today’s Louvre pyramid. It was cast in bronze from the guns captured by Napoleon in his conquests. In Victor Hugo’s Les Miserable, it housed the homeless children of the Revolution. Run-down and despondant, it symbolized the humility and determination of democracy:
“There it stood in its corner, melancholy, sick, crumbling, surrounded by a rotten palisade, soiled continually by drunken coachmen; cracks meandered athwart its belly, a lath projected from its tail, tall grass flourished between its legs; and, as the level of the place had been rising all around it for a space of thirty years, by that slow and continuous movement which insensibly elevates the soil of large towns, it stood in a hollow, and it looked as though the ground were giving way beneath it. It was unclean, despised, repulsive, and superb, ugly in the eyes of the bourgeois, melancholy in the eyes of the thinker.” -Victor Hugo
The Statue of Liberty in New York is a modern descendant from the Elephant. Visitors walk into and climb a stairway up the Statue, much like in the Elephant. The Louvre Pyramid achieves the same kind of procession, and directly links to its axis in the city. It therefore could assume the symbol of the poor and humble class. The poor gain access to the wealth of the world in the museum. History and art liberates the people.
Astrology
By 1850, the column in the courtyard was replaced by two circles. Pei’s early sketches start to resemble these two circles. Yet while the inverted pyramid keep a circular outline, the large pyramid is decidedly rectangular. Pei took a square and fit another square inside it. How did Pei get this geometric form? Astronomer Tycho Brahe built the Uraniborg observatory based on the classic chart of the four terrestrial elements. He applied the four states of the four elements (earth, fire, water, air) to the celestial sphere for the first time, asserting a new idea that stars are subject to change like anything else.
Tycho’s assistant, Johann Kepler applied this building form to astrology. His rectangular horoscope used tilted concentric squares that look very similar to Pei’s form at the Loure. If you lay the classic zodiac over the louvre pyramid, you can see how it fits.
Did Pei look at Kepler’s horoscope for the pyramid entrance to the Louvre? Compare the plan-view of the Louvre entrance with Kepler’s zodiac and the ancient astrology diagram:
A 90 degree triangle approaches the pyramid from the left side. This T-square aspect pattern forms a trine, which is considered in astrology to be “a source of artistic and creative talent.” This is therefore an appropriate entrance to an art museum. The Louvre’s entrance forms a trine. The 120 degree trine in the musical scale indicates a perfect fifth step, which is the strongest relationship of notes in music. The sun moves almost exactly 120 degrees on the summer solstice in Paris.
Kepler fit platonic solids inside each other. The tetrahedron was surrounded by the cube. More complex platonic shapes fit inside the tetrahedron, until finally they formed a sphere. This could be the background for Pei’s pyramid inside the Kepler square. The inverse pyramid fits inside a circle and the large pyramid inside a square.
Pei said he used a pyramid because it was “the most structurally stable of forms.”1 The pyramid is glass so that it is only barely seen, an intellectual suggestion.
The large pyramid touches a line between the top of the historic palace and the inverse pyramid. Looking at it in plan view, the edge of the large pyramid touches lines between the ends of the palace and the center of the inverse pyramid. These lines of sight suggest calculus that is used to derive perfect solids. They are an intellectual manifestation of perfect forms.
The pyramid and square could be based on Keppler’s laws of planetary motion. Kepler described the harmony of planets, music, poetry, etc. with proportions. Kepler’s third law, that the period of a planet’s orbit squared is proportional to the distance of the orbit cubed, describes the harmony of motion and distance. The pyramid volume is proportional to a line squared, and the cube volume is proportional to a line cubed.
The inverse pyramid’s proportion to its outer circle is the same as the earth’s proportion to the moon (27%). The large pyramid is likewise exactly 27% the width of the courtyard. The front entrance is half that distance from the front of the courtyard. Both pyramids thus relate the size of the moon to the size of the sun.
Kepler applied the mathematics of the perfect platonic solids to the epicycles of planets. Rejecting Ptolemic astronomy, Kepler declared that the earth revolves around the sun, and that the moon revolves around the earth, in elliptical orbits. He related these proportions to various things, such as the structure of the human eye. Indeed, if you overlay Kepler’s drawing of the eyeball over the Louvre, you see that the proportions line up. The Arc de Triumph aligns with the front of the cornea, the inverse pyramid with the lens, and the large pyramid with the front of the optic nerve. The hedges in the park even look like light rays approaching the eye from the left. This is because the harmonic proportions of the Louvre universally describe naturally occurring systems.
Golden Mean
The pyramid proportionally relates a system of objects, so it is no surprise that the golden mean is a basis for the pyramid’s size. The golden mean determines form and distance. The golden mean determines the pyramid’s size between the front and back, and the left and right of the courtyard. The statue of King Louis XIV, which is the endpoint of the park axis, aligns with this proportion. The golden mean also relates the inverse pyramid to the fountain edge.
The Louvre pyramid has the same slope as the Great Pyramid in Giza, at 51 degrees. The significance of the golden proportion in the Great Pyramid thus applies to the Louvre. It uses the golden proportion to achieve its form. The procession into the front, descending down into underground also follows the Great Pyramid in Giza.
The summer solstice sun crosses just inside the Arc de Triumph along the Axe Historique as it sets. The sun therefore is of vital importance in this site axis. The setting summer sun establishes a line of site between the statue of King Louis XIV with the inverse pyramid:
Gender
The circle is traditionally female and the square male. The inverse pyramid thus appears female while the larger upright pyramid is male. Many are aware that the Louvre is a metaphor for the chalice and blade. The chalice is the female aspect of creating life and is represented by an inverse pyramid. The blade is the male aspect of death and is represented by an upright pyramid. This metaphor is strengthened when you consider that the inverse pyramid is surrounding by living grass and the upright pyramid by fluid water. The Egyptians believed the waters of chaos must be crossed in the afterlife, and this is why they placed their funeral upright pyramids near the river Nile. Male/female relate to life/death and circle/square.
The entrance procession continues this gender language of circles and squares. The left spiral staircaseswirls in a circular motion, and on the right side a linear staircase descends in strict right angles. The Louvre’s free-standing staircase is a structural marvel, and its unrestrained circular motion was not easily achieved.
I think this gender symbolism is the most significant thing about the Louvre pyramid. Modernism seems intent on destroying all gender in our architectural language, yet here is a stark example of Modernism pushing ancient gender language. Its subtle power is the stuff of mystery novels, yet it is not really understood.
Life and death are investigated as the pyramid plays with the idea of above-ground and underground. The water fountains reflect the blue sky on the ground and suggests an inverse relationship. The clear pyramid allows light to fill the subterranean space. Then, at the inverse pyramid, everything flips upside down. The blue fountains take the form of blue sky and the transparent pyramid fills into the building. Rather than the building against a sky, it is the sky against the building. It touches a solid form, a small pyramid, a polar opposite to the unsubstantial sky. The roof of the Louvre palace can barely be seen from the inverse pyramid, a visual connection that brings this dichotomy all together.
This forces the visitor to investigate nature’s opposites. From Keppler’s investigation of natural systems, to perfect proportions, and natural opposite relationships, the Louvre makes the museum visitor investigate natural law.
Massimiliano Fuksas borrowed Pei’s concept of glazed sky intruding into building space. His MyZeil mall in Frankfurt swirls glazing around the public space.
The Golden Section (aka Golden Mean, and Golden Ratio) phys.org
We use math in architecture on a daily basis to solve problems. We use it to achieve both functional and aesthetic advantages. By applying math to our architectural designs through the use of the Golden Section and other mathematical principles, we can achieve harmony and balance. As you will see from some of the examples below, the application of mathematical principles can result in beautiful and long-lasting architecture which has passed the test of time.
Using Math in Architecture for Function and Form
We use math in architecture every day at our office. For example, we use math to calculate the area of a building site or office space. Math helps us to determine the volume of gravel or soil that is needed to fill a hole. We rely on math when designing safe building structures and bridges by calculating loads and spans. Math also helps us to determine the best material to use for a structure, such as wood, concrete, or steel.
“Without mathematics there is no art.” – Luca Pacioli, De divina proportione, 1509
Architects also use math when making aesthetic decisions. For instance, we use numbers to achieve attractive proportion and harmony. This may seem counter-intuitive, but architects routinely apply a combination of math, science, and art to create attractive and functional structures. One example of this is when we use math to achieve harmony and proportion by applying a well-known principle called the Golden Section
Math and Proportion – The Golden Section
Perfect proportions of the human body – The Vitruvian Man – by Leonardo da Vinci.
We tend to think of beauty as purely subjective, but that is not necessarily the case. There is a relationship between math and beauty. By applying math to our architectural designs through the use of the Golden Section and other mathematical principles, we can achieve harmony and balance.
The Golden Section is one example of a mathematical principle that is believed to result in pleasing proportions. It was mentioned in the works of the Greek mathematician Euclid, the father of geometry. Since the 4th century, artists and architects have applied the Golden Section to their work.
The Golden Section is a rectangular form that, when cut in half or doubled, results in the same proportion as the original form. The proportions are 1: the square root of 2 (1.414) It is one of many mathematical principles that architects use to bring beautiful proportion to their designs.
Examples of the Golden Section are found extensively in nature, including the human body. The influential author Vitruvius asserted that the best designs are based on the perfect proportions of the human body.
Over the years many well-known artists and architects, such as Leonardo da Vinci and Michelangelo, used the Golden Section to define the dimensions and proportions in their works. For example, you can see the Golden Section demonstrated in DaVinci’s painting Mona Lisa and his drawing Vitruvian Man.
Famous Buildings Influenced by Mathematical Principles
Here are some examples of famous buildings universally recognized for their beauty. We believe their architects used math and the principals of the Golden Section in their design:
The classical Doric columned Parthenon was built on the Acropolis between 447 and 432 BC. It was designed by the architects Iktinos and Kallikrates. The temple had two rooms to shelter a gold and ivory statue of the goddess Athena and her treasure. Visitors to the Parthenon viewed the statue and temple from the outside. The refined exterior is recognized for its proportional harmony which has influenced generations of designers. The pediment and frieze were decorated with sculpted scenes of Athena, the Gods, and heroes.
Built on the Ile de la Cite, Notre Dame was built on the site of two earlier churches. The foundation stone was laid by Pope Alexander III in 1163. The stone building demonstrates various styles of architecture, due to the fact that construction occurred for over 300 years. It is predominantly French Gothic, but also has elements of Renaissance and Naturalism. The cathedral interior is 427 feet x 157 feet in plan. The two Gothic towers on the west façade are 223 feet high. They were intended to be crowned by spires, but the spires were never built. The cathedral is especially loved for its three stained glass rose windows and daring flying buttresses. During the Revolution, the building was extensively damaged and was saved from demolition by the emperor Napoleon.
Built in Agra between 1631 and 1648, the Taj Mahal is a white marble mausoleum designed by Ustad-Ahmad Lahori. This jewel of Indian architecture was built by Emperor Shah Jahan in memory of his favorite wife. Additional buildings and elements were completed in 1653. The square tomb is raised and is dramatically located at the end of a formal garden. On the interior, the tomb chamber is octagonal and is surrounded by hallways and four corner rooms. Building materials are brick and lime veneered with marble and sandstone.
Taj Mahal designed by Ustad-Ahmad Lahori
As you can see from the above examples, the application of mathematical principles can result in some pretty amazing architecture. The architects’ work reflects eye-catching harmony and balance. Although these buildings are all quite old, their designs have pleasing proportions which have truly passed the test of time.
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Incendio Notre Dame (París), en directo (Bertrand Guay / AFP)
