Download bing-bean topology seminar wisconsin 1965(ISBN 0691080569) by R. H. Bing, Ralph J. Bean PDF

By R. H. Bing, Ralph J. Bean

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Hence the term sacred cut. According to Watts, The geometric order of Ostia's Garden House complex is established by three successive sacred cuts. 16, a square roughly congruent with the perimeter of the complex encloses a circle that touches the corner of the courtyard (a). Sacred cuts of the east and west sides of this reference square determine the position of the outer walls of the courtyard buildings (b). The second reference square, concentric with the first, is defined by the width of the courtyard and the position of the fountains; the sacred cuts of its east and west sides guide the placement of the party walls along spines of the courtyard buildings (c).

1 The red and blue series Le Corbusier created a double scale of lengths which he called the red and blue series. The blue series was simply a <)> series. , two segments with lengths in the ratio 4>:1. 4. 15) is a Fibonacci series, all lengths of the double series can be constructed with compass and straightedge. 16), with 2d replacing a in the 4> series for arbitrary d (not drawn to scale). 3); each length is the arithmetic mean of successive lengths of the blue series that brace it. 16). 4, each length of the blue series is the harmonic mean of the two successive lengths t h a t brace it from the red series.

3) 9 18 36 27 72 ... . Thus Plato's lambda is formed by the boundary of these geometric series. P. H. Scholfield [1958J points out that this double series acts like a chessboard on which horizontal moves represent octaves and moves along the diagonal represent fifths and fourths. 1) are all represented by any group of numbers from the series forming the pattern: • • • • • 8 • such as 6 16 12 24 t 9 18 with the addition of the major whole tone 9:8. Alberti selected any three numbers from this subscale to represent the breadth, height, and length of a room.

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