Fibonacci Series and Golden Ratio in Architecture

FIBONACCI SERIES AND GOLDEN RATIO IN ARCHITECTURE
AN AESTHETICAL APPROACH AND A FUNCTIONAL ANALYSIS
1. INTRODUCTION
1.1 INTRODUCTION
ibonacci Series is not strictly an image of "beauty" but actually an image of "HUMANNESS". That is, it is the way we identify our own species and individuals within our species. Like all other
animals we need a way to identify our own species for mating, bonding, self- protection and other survival purposes. Also we need to be able to distinguish healthy and disease free individuals within our species for similar purposes. Other animals recognize their own species through one or a combination of their senses.[15] Moths and butterflies, for example, recognize each other through smell the olfactory sense. They are able to recognize or identify other moths by their scents (or "pheromones") from up to 3 miles away. This is how they identify "mothness". Dogs recognize each other by a combination of vision and smell. They initially visually identify another animal as a "dog" and immediately approach it to smell it and ascertain its degree of "dogness", as well as other information about that dog. Dolphins recognize their species and individuals within their species through the sense of sound. The degree of one dolphin's acceptance of another is its dependent on its perception of that other dolphin's sounds like a dolphin. These sounds create its species identity, or "dolphinness". Elephants appear to use a combination of sound, vision and smell. Few people have any argument that these animal behaviours are all instinctual behaviours that are genetically encoded and subconsciously driven. We are animals too. Humans, however, have historically had a hard time seeing and regarding themselves as "animals". We are, in fact, much like other animals. And like other animals, to a tremendous degree, we are a product of our genetic makeup. There is a school of thought among
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scientists who believe that genetics, much more than environment, determines who we are and who we become. [15] Humans are animals, but more specifically we are a visual animal. We essentially recognize each other by sight. We cannot smell each other more than a few feet away, and if someone yells our name we immediately turn to see, or "visually" identify, who they are. Part of our genetic code is a subconscious image of what "human" is supposed to be. The primary image of "humanness" is the genetically coded visual image of an "ideal" human face. The more a face resembles this "Ideal Human Face Image" - the more we perceive it to be human. When a face is perceived to be human, this perception sets off in us a conscious response of "attraction" and "positive emotion". This subconscious visual perception of "humanness", if strong enough (that is if the face one sees looks enough like his subconscious image of "humanness"), then the conscious response will be elevated to a combination of a sense of "strong attraction" and a sense of "strong positive emotion". [15] "Beauty" is defined as "the quality or combination of qualities in an entity which evokes in the perceiver a combination of a sense of "strong attraction" and a sense of "strong positive emotion". Thus we can postulate that the perception or "recognition" of beauty is actually nothing more than a strong correlation of what we subconsciously expect "humanness" to appear to be. [15] This leads us to believe that the image of the "ideal" human face is indeed a subconscious image which we are born with and carry throughout our lives. This archetype has evolved in order to help us identify members of our own species and further sort members of our species according to their relative health and ability to successfully reproduce and to provide other resources to us and those who are close to us. [15]
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Beauty, in essence, is an instinctual idea, pattern of thought, image, etc., inherited from the ancestors of the race and universally present in individual psyches.
[15]
So, if beauty is instinctive and embedded in
psyche, then an object imitating similar proportions as that of the perfect face would be more appealing than one without it.
1.2 AIM
The aim of the thesis is to study Fibonacci series in architectural context along with analysing it in aesthetical as well as functional light, and produce a design process exhibiting Le Modulor as a design tool.
1.3 OBJECTIVES
The following objectives are laid to accomplish the aim: Study the mathematical aspect of Fibonacci Series Study the geometrical aspect of Fibonacci Series Find its contribution to the aesthetics of an object Study its functionality
1.4 SCOPE
To learn about the Fibonacci Series in architectural context To study about Le Corbusiers work and research It would ultimately add to the academic knowledge of proportions and design principles in architectural context
1.5 LIMITATIONS
While dealing with factors affecting aesthetical appeal, only proportions will be dealt with and not the material used.
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Aesthetical appeal of objects is intended to be assessed only for instinctive attraction and not influenced ones. Not everyone will have the exact same taste for proportions and so the maximum appreciation is aimed at. In situations where quantitative analysis is not possible directly, surveys will be sorted after.
1.6 RELEVANCE OF THE TOPIC

Beautiful objects are appreciated by all alike for its aesthetics, which implies it is perceivable by all. There must be a reason for similar perception by one individually. Analysing the principles of aesthetics would result in guidelines for attaining the desirable influence on the majority of audience. At this time when the world is becoming more and more aware to aesthetics of almost everything, there is a need to lay certain basic guidelines to achieve the desirable.
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2. FIBONACCI SERIES
2.1 INTRODUCTION 0 1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1597 ... ...
his series is called as Fibonacci Series and can be expressed as a function of n as follows:
f (n) = f (n-1) + f (n-2) The question arises; from where does this series come? Who discovered or invented it? And what was the need for this discovery? This series was discovered a number of times over the ages by different scholars and in different ways. Acharya Hemachandra and Leonardo Fibonacci find special mention in the history of the Fibonacci series.
2.2 ACHARYA HEMACHANDRA

Acharya Hemachandra (1089 AD -1172 AD) Acharya Hemchandra was born in 1089 A .D. into the Modha Vanik (merchant) caste, in the town of Dhandhuka, sixty miles from the city Ahmedabad in Gujarat State. His parents were Figure 1 : Acharya Hemachandra
(Source- GAP System, School of Mathematics of and St. Statistics, Andrews,
Chachadev and Pahini. After his birth he was name Changdeva.
Acharya University Devasuri took him with himself and Scotland) initiated Changdeva into monkshood
and named him Somachandra. Acharaya Devasuri made Somachandra an acharya when he was only twenty-one years old. At that time, he was
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given the name Hemchandra Acharya. He discovered fibonacci series half a decade prior to fibonacci, while working on poems and syllables. [16] In a text written about 1150 he looked at the following problem. Suppose we assume that lines are composed of syllables which are either short or long. Suppose also that each long syllable takes twice as long to articulate as a short syllable. A line of length n contains n units where each short syllable is one unit and each long syllable is two units. Clearly a line of length n units takes the same time to articulate regardless of how it is composed. Hemchandra asks: How many different combinations of short and long syllables are possible in a line of length n? [16] Hemchandra then finds the answer explicitly. Suppose that there are f (n) possibilities for a line of length n. The line of length n either ends in a short syllable or in a long syllable. If it is the former than there remains a line of length n-1 which can be composed in f (n-1) ways and if the line of length n ends in a long syllable then there is a line of length n-2 remaining which can be composed in f (n-2) ways. Hence, argues Hemchandra, [16]
f (n) = f (n-1) + f (n-2).
2.3 LEONARDO PISANO FIBONACCI
eonardo Pisano Fibonacci (1170 ad -1250 ad) Leonardo Pisano is better known by
his nickname Fibonacci. He was the son of Guilielmo and a member of the Bonacci family. He was a mathematician, who was a traveller and a scholar in former half of his
Figure 2:Leonardo Fibonacci,
(SourceGAP System, School of Mathematics and Statistics, University of St.
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Andrews, Scotland)

life and worked for Republic of Pisa in his later half. [16] Fibonacci formulated a hypothetical problem, in the Process of finding whose Solution he discovered a series that was later named as Fibonacci Series. This problem later became famous by the name Rabbit Problem.
2.4 THE RABBIT PROBLEM

The problem was a hypothetical one. It was initially a mathematics fun problem for him. It is being extrapolated to predict population growth in modern times. There is a pair of baby rabbits right from the beginning. A couple of baby rabbits take a week to become adults and then they produce another pair of baby rabbits every week. No rabbit ever dies or loses its fertility. The number of pairs of rabbit after any number of months is given by the function and thus it defines the series.
The series can be expressed as a function of n:
f (n) = f (n-1) + f (n-2)
The function depicts that, to get the next number on the series, the last and the second last numbers should be added. When each number of the Fibonacci series is divided by its predecessor, starting with the 3rd number i.e., 1, and this process is continued, the fraction thus achieved approximates 1.61803... This is a non-terminating decimal number. The Fibonacci series is also non-terminating and ever extending. The first few numbers of the series are as follows:
0 1 1 2 3 5 8 13 21 34 55 89 144 ... ...
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Month 0 1 2 3 4 5 6 etc.
Rabbits From Pair A: A A A B A B C A B C D A B C D E 1 2 3 4 5 6
From Pair B:
From Pair D: C:
B1: Total 1 1 2 3
B1 B1 B2 7 8 9 C1 C1 10 C2 11 D1 B11 12 13
5 8 13 etc.
A B C D E F B1 B2 B3
Table 1: The Rabbit Problem (Source-Author)
Figure 3: The Rabbit Problem (Source-http://www.maths.surrey.ac.uk)
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=1
= 1.6
=2
= 1.625
= 1.5
= 1.615
= 1.667
= 1.619
[3]
Applications of the Fibonacci Series include computer algorithms such as the Fibonacci search technique, the Fibonacci heap data structure, and graphs called Fibonacci cubes used for interconnecting parallel and distributed systems. They also appear in biological settings, such as branching in trees, arrangement of leaves on a stem, the fruit spouts of a pineapple, the flowering of artichoke, an uncurling fern and the
arrangement of a pine cone.
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3. PROPORTION
3.1 INTRODUCTION
roportion is an ordered relationship between two comparable entities, visible or invisible. It can be manipulated and experienced by geometry, arithmetic ratio and visual perception.
The fact that, certain proportions have been found so generally satisfactory, have naturally raised the question of the method by which they have been arrived at, for instance Golden Ratio. It has been found in natural elements such as sun flower, nautilus shell, etc. The Parthenon also possesses it. Corbusiers Modulor is based on go lden proportion found in human body. Proportions which are generated out of functions without considering the subjective needs of the designer can be termed as functional proportion.[7] A good proportion is subjective in the absence of functional relationship. Aesthetic proportion grows form subjective tradition. They may manipulate visually.
After all the eve must give the final judgement for even though the object be most carefully measured, is the even remain offended, it will not cease on that account to censure it. The eve must decide where to take away and where to add, as it sees defect till the due proportions are attained. Georgio Vasari
The validity of proportions is attained and concept loses deeply in all human beings but subjectively. Sense of proportion is generally affected by surroundings. The beautiful proportions are sometimes thoroughly immeasurable and can be achieved by inner instinct and experience.
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Architectural proportions may not be absolute but relative. Functional proportions are precise and accurate while aesthetic proportions grow out of subjective tradition. Magnitudes of having equal ratio are called proportional. Ratio is a comparison of any two quantities. Proportion is a comparison of two or more equal ratios. The progression of ordered sequence, in which quantities may be related to each other, is called Progression in mathematical terms.
3.2 TYPES OF PROPORTIONS:

Continuous proportion: The comparison of equal ratios, each has relation with the previous one is called continuous proportion. Discontinuous proportions: The comparison of independent but equal ratios is called discontinuous proportion.
Figure 4 : Continuous Proportion (Source-Author)
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Figure 5 : Discontinuous Proportion (Source-Author)
3.3 TYPES OF PROGRESSIONS:

Geometrical progression: The progression in which the ratio of any two consecutive terms is the same. Arithmetic progression: The Progression in which the difference of any two consecutive lines remains same not the ratios or the line increases with a constant measure.
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Figure 6 : Geometric Progression (Source-Author)
Figure 7 : Arithmetic Progression (Source-Author)
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4. BEAUTY AND AESTHETICS
raditional Indian speculative thought affirm that beauty is capable of being known to man intrinsically and positively in the innermost essence of his being.[1]
While human visual perception is relatively constant from one person to another, the idea of good proportions and beauty necessarily varies, based on experience and knowledge. There are some constants
however, such as a sense of visual balance derived from body-related proportions, but even these vary according to cultural and other experiential circumstances. In the earliest cultures known, before written history, like in China, Egypt, Islamic world and sub-Saharan Africa, beauty was a term of great esteem linking human beings and nature with artistic practices and works. Men and women, their bodies, characters, behaviours and virtues are described as beautiful, together with artefacts, performances and skills and with natural creatures and things: animals, trees and rock formations. [1] The early Christian (400-1400 AD) philosophy strongly emphasized, proportion, harmony, congruence and consonance; especially in relation to music, which was understood in Pythagorean terms to be regulated by numbers and in terms of unity in multiplicity; light, colour, radiance, brilliance, and clarity all were beautiful, testaments to the unity of Gods. [1] In the Renaissance period (1400 AD) beauty was perceived in terms of order, measure, and form; the beauty of the universe in terms of order and perfection. The science approach of seeing things as Greeks did found; was found again in this period and hence was called rebirth.[1]
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Beauty
(also
called
prettiness,
loveliness
or
comeliness) is
characteristic of a person, animal, place, object, or idea that provides a perceptual experience of pleasure, meaning, or satisfaction. Beauty is studied as part of aesthetics, sociology, social psychology, and culture. An "ideal beauty" is an entity which is admired, or possesses features widely attributed to beauty in a particular culture, for perfection. Beauty begins as an organic entity which can be thus altered by new means. The qualities that give pleasure to the senses are said to be beautiful, whereas the branch of philosophy dealing with beauty and taste is aesthetics. Aesthetics can more elaborately be stated as a branch of philosophy dealing with the nature of beauty, art, and taste, and with the creation and appreciation of beauty.[17] It is more scientifically defined as the study of sensory or sensory-emotional values, sometimes called judgments of sentiment and taste.[18] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."[2]
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5. GOLDEN RATIO
ome of the greatest mathematical minds of all ages, from Pythagoras and Euclid in Ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance
astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its Properties. But the fascination with the Golden Ratio is not confined just to Mathematicians; Biologists, artists, Musicians, historians, architects, Psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal.[3] The Golden Section can be defined as the ratio between two sections of a line, or two dimensions of a plane figure, in which the lesser of the two is to the greater as the greater is to the sum of both. It can be expressed algebraically by the equation of two ratios. [8]
Ancient
Greek
mathematicians
first
studied the golden ratio because of its frequent Appearance in geometry. The division of a line into the golden ratio is important in the Geometry of regular pentagrams and Pentagons. The Greeks usually attributed Discovery of this
concept to Pythagoras. The regular pentagram, which has a
b
pentagram,
a + b
from being
regular Figure 8 : Golden Ratio (Source-Author)
Pentagon inscribed within it, was the Pythagoreans' symbol. But the regular Pythagoreans symbol has now become a very regular and day to day symbolised by everyone ranging from primary teachers to scholars. [3]
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When a line is divided into two segments a and b, where a is longer and b is shorter, in such way that [3]
Equation 1 : Golden Ratio
Equation 2 : Solution of quadratic equation
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Then, the two segments are called to be in golden ratio/proportion to each other. It is represented by Greek letter phi or . The value of phi is non-terminating. [3] Hence is equated with the already formed equation from the preconditions. As a result the linear equation in a & b is replaced by a quadratic equation in . This value thus achieved approximates the value found by dividing each number of the Fibonacci series by its predecessor. [3]
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6. GOLDEN SECTION/RECTANGLE
athematical
systems
of
proportion
originate
from
the
Pythagorean concept of all is number and the belief that certain numerical relationships manifest the harmonic
structure of the universe. One of these relationships that has been in use ever since the days of antiquity is the proportion known as the Golden Section. The Greeks recognized the dominating role the Golden Section played in the proportions of the human body. Believing that both humanity and the shrines housing their deities should belong to a higher universal order, they utilized these same proportions in their temple structures. Renaissance architects also explore the Golden Section in their work. In more recent times, Le Corbusier based his Modulor system on the Golden System. Its use in architecture endures even today. [8] The Golden Section has some remarkable algebraic and geometric properties that account for its existence in architecture as well as in the structures of many living organisms. Any progression based on the Golden Section is at once additive and geometrical. [8] A Golden Rectangle is a rectangle with proportions that are two consecutive numbers from the Fibonacci sequence. The Golden Rectangle has been said to be one of the most visually satisfying of all geometric forms. We can find many examples in art masterpieces such as in edifices of ancient Greece.[19] Alternatively, a Golden Rectangle is one whose side lengths are in the golden ratio, or approximately 1:1.618. A distinctive feature of
this shape is that when a square section is removed, the remainder is another golden rectangle; that is, with the same proportions as the first. Square removal can be repeated infinitely, in which case corresponding
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corners of the squares form an infinite sequence of points on the golden spiral, the unique logarithmic spiral with this property. [19] Steps of construction : a) Construct a square of 1 unit by 1 unit sides. b) Draw a line from the midpoint of one side of the square to an opposite corner. c) Use that line as the radius to draw an arc that defines the height of the rectangle. d) Complete the golden rectangle.
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Figure 9 : Steps 1 and 2 of construction of Golden Section (Source-Author)
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Figure 10 : Steps 3 and 4 of construction of Golden Section (Source-Author)
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7. GOLDEN SPIRAL
n geometry, a golden spiral is a logarithmic spiral whose growth factor is , the golden ratio. That is, a golden spiral gets wider (or further from its origin) by a factor of for every quarter turn it makes.
This is quite similar to a spiral constructed out of golden rectangles and another spiral constructed out of Fibonacci rectangles in the following manners
The green spiral is made from quarter-circles tangent to the interior of each square, while the red spiral is a Golden Spiral. Overlapping portions appear yellow. Figure 11 : Golden Spiral (Source-www.wikipedia.org)
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8. GOLDEN TRIANGLE
Golden triangle, also known as the sublime triangle, is an isosceles triangle in which the smaller side is in golden ratio with its adjacent side:
Golden triangles are found in the nets of several stellations of dodecahedrons and icosahedrons. Also, it is the shape of the triangles found in the points of pentagrams. The vertex angle is equal to
Equation 3 : Angle for Golden Triangle
Since the angles of a triangle sum to 180, base angles are therefore 72 each. The golden triangle can also be found in a decagon, or a ten-sided polygon, by connecting any two adjacent vertices to the center. This will form a golden triangle. This is because: 180(10-2)/2=144 degrees is the interior angle and bisecting it through the vertex to the center, 144/2=72. The golden triangle is also uniquely identified as the only triangle to have its three angles in 2:2:1 proportion. The golden triangle is used to form a logarithmic spiral. By bisecting the base angles, a new point is created that in turn, makes another golden triangle. The bisection process can be continued infinitely, creating an infinite number of golden triangles. A logarithmic spiral can be drawn through the vertices. This spiral is also known as an equiangular spiral, a term coined by Rene Descartes. "If a
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straight line is drawn from the pole to any point on the curve, it cuts the curve at precisely the same angle," hence equiangular. Closely related to the golden triangle is the golden gnomon, which is the obtuse isosceles triangle in which the ratio of the length of the equal (shorter) sides to the length of the third side is the reciprocal of the golden ratio. The golden gnomon is also uniquely identified as a triangle having its three angles in 1:1:3 proportions. The acute angle is 36 degrees, which is the same as the apex of the golden triangle.
Figure 12 : Golden triangles inscribed in a logarithmic spiral
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9. GOLDEN RATIO AND PENTAGRAM
pentagram (sometimes known as a pentalpha or pentangle or, more formally, as a star pentagon) is the shape of a five-pointed star drawn with five straight strokes. The word pentagram
comes from the Greek word pentagrammon, a noun form of pentagrammos or pentegrammos, a word meaning roughly "five-lined" or "five lines", from pente, "five" + gramm, "line".
Pentagram is closely associated with the golden ratio. It contains the golden ratio in its lines and intersections. Pentagrams were used symbolically in ancient Greece and Babylonia, and are used today as a symbol of faith by many Wiccans, akin to the use of the cross by Christians and the Star of David by Jews. The pentagram has magical associations, and many people who practice Neo-pagan faiths wear jewellery incorporating the symbol. Christians once more commonly used the pentagram to represent the five wounds of Jesus. The pentagram has associations with Freemasonry and is also utilized by other belief systems. The word "pentacle" is sometimes used synonymously with "pentagram", and this usage is borne out by the Oxford English Dictionary, although that work specifies that a circumscription makes the shape more particularly a pentacle. Wiccans and Neo-pagans often make use of this more specific definition for a pentagram enclosed in a circle.
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9.1 SUMER
The first known uses of the pentagram are found in Mesopotamian writings dating to about 3000 BC. The Sumerian pentagrams served as pictograms for the word "UB" meaning "corner, angle, nook; a small room, cavity, hole; pitfall," suggesting something very similar to the pentemychos (see below on the Pythagorean use for what pentemychos means). In Ren Labat's index system of Sumerian
hieroglyphs/pictograms it is shown with two points up. In the Babylonian context, the edges of the pentagram were probably orientations: forward, backward, left, right, and "above". These directions also had an astrological meaning, representing the five planets Jupiter, Mercury, Mars and Saturn, and Venus as the "Queen of Heaven" (Ishtar) above.
9.2 PYTHAGOREANS
The Pythagoreans called the pentagram Hugieia ("health"; also the Greek goddess of health, Hygieia), and saw in the pentagram a mathematical perfection.
The ancient Pythagorean pentagram, with two legs up, represented the Pentemychos (of five sanctuaries), a cosmogony written by Pythagoras' teacher and friend Pherecydes of Syros. It was the "island" or "cave" where the first pre-cosmic-offspring had to be put in order for the cosmos to appear: "the divine products of Chronos" seed, when disposed in five recesses, were called Pentemuxos".
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9.3 WU XING
Wu Xing, the five phases, or five elements, is an ancient Chinese mnemonic and symbolic figure widely known in East Asia and used traditionally in applications such as medicine, acupuncture, feng shui, and Taoism. They are similar to the ancient Greek elements, with more emphasis on their cyclic transformation than on their material aspects. The five phases are: Fire, Earth, Metal, Water, and Wood.
9.4 GEOMETRY
The pentagram is the simplest regular star polygon. The pentagram contains ten points (the five points of the star, and the five vertices of the inner pentagon) and fifteen line segments. Like a regular pentagon, and a regular pentagon with a pentagram constructed inside it, the regular pentagram has as its symmetry group the dihedral group of order 10.
The golden ratio plays an important role in regular pentagons and pentagrams. Each intersection of edges sections the edges in golden ratio: the ratio of the length of the edge to the longer segment is , as is the length of the longer segment to the shorter. Also, the ratio of the length of the shorter segment to the segment bounded by the 2 intersecting edges (a side of the pentagon in the pentagram's centre) is .
The pentagram includes ten isosceles triangles: five acute and five obtuse isosceles triangles. In all of them, the ratio of the longer side to the shorter side is . The acute triangles are golden triangles. The obtuse isosceles triangle highlighted via the coloured lines is a golden gnomon.
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Figure 13 : Pentagram (Source-www.wikipedia.org)
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10. GOLDEN RATIO IN GEOMETRY
H
design.
aving spent 99.9% of our planetary tenure woven deep into the wild, we humans naturally admire the weaverbirds nest, the conchs shell, and the scales of a shimmering trout. In fact,
there are few things more beautiful to the human soul than natures
Figure 14 : Division of a straight line into Golden Ratio (Source-Thesis: An Objective [6] Search And A Subject Analysis, Drawn-Author)
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Figure 15 : Division of a square into Golden Section (Source-Thesis: An Objective Search [6] And A Subject Analysis, Drawn-Author)
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Figure 16 : The lines resulting in golden ratio (Contribution- Jo Niemeyer, drawn-Author)
When the lines are laid in such a way that each has a length of one unit and they are laid on the midpoint of the previous line, as expressed in the figure, the project Golden Ratio on the horizontal axis.
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Figure 17 : An equilateral triangle inscribed in a circle (Drawn-Author)
An equilateral triangle inscribed in a circle expresses Golden Ratio when the midpoints of two lines are joined and extended to meet the circle at some point.
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Figure 18 : A square inscribed in a semi-circle (Drawn-Author)
A square inscribed in a semi-circle, results in dividing the diameter in a way that Golden Ratio can be traced.
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Figure 19 : A pentagon inscribed in a circle (Drawn-Author)
The diagonals of the pentagon inscribed in a circle intersect each other in such a way so as to produce golden ratio in them. The sides of the regular pentagon are also in golden proportion with the diagonals.
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Figure 20 : Harmonic subdivision of line in Golden Ratio (Source-Thesis: An Objective [6] Search And A Subject Analysis, Drawn-Author)
Figure 21 : Harmonic subdivision of line in horizontal and vertical direction in Golden Ratio (Source-Thesis: An Objective Search And A Subject Analysis, Drawn-Author)
[6]
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Certain beautiful geometry can be achieved by arranging circles and squares and scaling them repeatedly by phi = 1.618...
Figure 22 : Ten squares seen as the projection of a three-dimensional pyramid-like [4] structure (Source- Janusz Kapusta, Redrawn-Author)
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Figure 23 : Two lines touching the corners of the ten squares (Source- Janusz Kapusta, [4] Redrawn-Author)
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Figure 24 : The appearance of a new virtual square with an inscribed upward pointed [4] triangle (Source- Janusz Kapusta, Redrawn-Author)
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Figure 25 : Circles are inscribed within the squares (Source- Janusz Kapusta, Redrawn[4] Author)
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Figure 26 : Two lines tangent to the circles define a pair of circles within the virtual square with diameters in the golden proportion (Source- Janusz Kapusta, [4] Redrawn-Author)
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Figure 27 : The virtual square is seen in exploded view (Source- Janusz [4] Kapusta, Redrawn-Author)
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Figure 28 : A sequence of tangential circles is created with the inverse powers of the golden mean as their diameters (Source- Janusz Kapusta, Redrawn-Author)
[4]
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Figure 29 : Odd, inverse powers of the golden mean sum to unity (Source- Janusz [4] Kapusta, Redrawn-Author)
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Figure 30 : All the inverse powers of the golden mean with the exception of 1/ sum to [4] unity (Source- Janusz Kapusta, Redrawn-Author)
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Figure 31 : Another surprising relation of odd, inverse powers. Notice that the squares that circumscribe the sequence of the golden circles touch the side of the [4] upward pointed triangle (Source- Janusz Kapusta, Redrawn-Author)
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Figure 32 : An infinite sequence of a half golden circles tangent to their diameters and to the side of a upward pointed triangle (Source- Janusz Kapusta, Redrawn[4] Author)
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Figure 33 : Another way to view the odd, inverse powers of the golden mean as a [4] sequence of circles (Source- Janusz Kapusta, Redrawn-Author)
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Figure 34 : They can also be seen as a sequence of squares (Source- Janusz Kapusta, [4] Redrawn-Author)
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Figure 35 : An infinite sequence is seen to be a geometric sequence of squares of [4] decreasing size (Source- Janusz Kapusta, Redrawn-Author)
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Figure 36 : The Pythagorean Theorem is expressed by this sequence of squares. The sequence of vertices of the squares upon the hypotenuse lies against the right edge of [4] the framing square (Source- Janusz Kapusta, Redrawn-Author)
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Figure 37 : The Golden rectangles (Source- http://www.maths.surrey.ac.uk)
Three Golden rectangles are placed perpendicular to each other passing through each others centre. The 12 vertices thus gained, when treated as the mid points of 12 pentagons, a dodecahedron is formed; and when those 12 vertices are treated as a solid geometry made of triangles with their vertices on them, icosahedrons is constructed.
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Figure 38 : Icosahedrons circumscribing the three golden rectangles
Figure 39 : Dodecahedron circumscribing the three golden rectangles (Source- http://www.maths.surrey.ac.uk)
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11. GOLDEN RATIO IN ART
he 16th-century philosopher Heinrich Agrippa drew a man over a pentagram inside a circle, implying a relationship to the golden ratio.
Leonardo da Vinci illustrated polyhedral in De divina proportione (On the Divine Proportion) and expressed his views that some bodily proportions exhibit the golden ratio. Salvador Dal, influenced by the works of Matila Ghyka, explicitly used the golden ratio in his masterpiece, The Sacrament of the Last Supper. The dimensions of the canvas are a golden rectangle. A huge dodecahedron, in perspective so that edges appear in golden ratio to one another, is suspended above and behind Jesus and dominates the composition.
Figure 40 : The sacrament of the Last Supper by Salvador Dali (1904-1989) (Source-www.wikipedia.org, editing-author)
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Figure 41 : Mona Lisa by Leonardo Da Vinci exhibiting relationship with the Golden rectangles arranged in the pattern as in the construction of Golden Spiral (Source of image-www.wikipedia.org, editing-author)
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Figure 23 includes lots of Golden Rectangles. A rectangle whose base extends from the woman's right wrist to her left elbow can be drawn and extended vertically until it reaches the very top of her head. Now the rectangle thus drawn is a golden one.
Also, if squares are drawn inside this Golden Rectangle, the edges of these new squares come to all the important focal points of the woman: her chin, her eye, her nose, and the upturned corner of her mysterious mouth.
It is believed widely that Leonardo, as a mathematician tried to incorporate mathematics into art. This painting seems to be made purposefully line up with golden rectangle. Mondrian has been said to have used the golden section extensively in his geometrical paintings. [3]
Figure 42 : Self-portrait by Rembrandt (Source-jwilson.coe.uga.edu)
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Three straight lines can be drawn into this figure. Then, the image of the artist can be included into a triangle. Moreover, if a perpendicular line would be dropped from the apex of the triangle to the base, the triangle would cut the base in Golden Section.
0.382
0.618
Figure 43 : Afrodita's sculpture created by Agesander is considered to be the masterpiece of woman's beauty (Source-http://milan.milanovic.org)
[20]
The sculpture of the Greek Goddess of fertility Afrodita created by Agesander illustrates golden proportion in the womans body. There was a time when deviations from the truly beautiful page proportions 2:3, 1:3, and the Golden Section were rare. Many books produced between 1550 and 1770 show these proportions exactly, to within half a millimetre. The figure illustrates The Vitruvuan Man, a man inscribed in a square and a circle in two different postures. Three different sets of Golden
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Rectangles can be traced in the figure; each one for the head area, the torso, and the legs.
Figure 44 : The Vetruvian Man (The Man in Action) by Leonardo Da Vinci (Source-www.wikipedia.org)
Figure 45 : Crucifixion by Raphael (Source-http://milan.milanovic.org, editingauthor) [3]
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Crucifixion by Raphael is a well-known example, in which we can find a Golden Triangle and also Pentagram. A golden triangle can be traced when a line joining the centre of the crossing of the cross and the lowest points of the disciples position is drawn. And a pentagram can be traced by joining the centre of the cross with the shoulders of the two kneeling disciples and the legs of the angles.
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12. GOLDEN RATIO IN MONUMENTS AND BUILDINGS

12.1 THE PYRAMID OF GIZA
he papyrus of Egypt gives an account of the building of the Great Pyramid of Giaz in 4700 B.C. with proportions according to a "sacred ratio."
The Greek sculptor Phidias sculpted many things including the bands of sculpture that run above the columns of the Parthenon. Even from the time of the Greeks, a rectangle whose sides are in the "golden proportion" has been known since it occurs naturally in some of the proportions of the Five Platonic. This rectangle is supposed to appear in many of the proportions of that famous ancient Greek temple in the Acropolis in Athens, Greece. It's also believed that the numeric value assigned to the Golden Ratio, Phi, was named in Phidias honour.
Figure 29 : The Pyramid of Giza (Source- www.jwilson.coe.uga.edu)
[3]
Figure 460 : The angle subtended at the centre of the base by the slope of the [3] pyramis (Source- www.jwilson.coe.uga.edu)
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12.2 NOTRE DAME
Figure 47 : Notre Dame (Sourcehttp://www.goldennumber.net)
Notre Dame in Paris, which was built in the 1163 and 1250 exhibits the use of Golden Section through its front facade.[22]
12.3 THE CNN TOWER

The CN Tower in Toronto, the tallest tower and freestanding structure in the world, expresses the golden ratio in its design. The ratio of observation deck at 342 meters to the total height of 553.33 is 0.618
[22]
Figure 48 : The CN Tower, Toronto
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12.4 TAJ MAHAL

The Taj Mahal at Agra, India also has pentagrams and golden sections in its elevation (perspective view from a distance).
Figure 49 : The Front Facade of Taj Mahal showing two Golden Rectangles : the red and the cyan (Source- www.wikipedia.org, editing-author)
[22]
The different bands formed by continuous decorative panels show the golden relation when compared with one another in width. There are four Golden Section in the figure, namely, red, yellow, blue and cyan.
[22]
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Figure 50 : A zoomed in view of the entrance showing different golden rectangles [22] (Source- Author)
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12.5 VILLA SAVOYE

Villa Savoyes Plan expresses the deliberate use of Golden Section by Le Corbusier. The central square forms two golden sections alternatively by combining with the two rectangles on the sides.
Figure 51 : Le Corbusiers Villa Savoye, France.
[23]
The graphic analysis illustrates the use of Golden Section in the proportioning of the facade of the Parthenon. It is interesting to note that while both analyses begin by fitting the facade into a Golden Rectangle, each analysis then varies from the other in its approach to providing the existence of the Golden Section and its effect on the dimensions and the distribution of elements across the facade.
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12.6 VILLA GARCHES
Figure 52 : Villa Garches (Source-www.wikipedia.org)
Figure 53 : Front facade-Villa Garches, Vaucressen, France, by Le Corbusier (1926-27) showing golden relationships (Drawn-Author)
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12.7 PARTHENON
Figure 54 : The Front facade of the Parthenon (Source- www.jwilson.coe.uga.edu)
[3]
The Parthenon exhibits Golden Section and the series of Golden Rectangles used to construct the Golden Spiral at various places; ranging from the front facade to the plan.
Figure 55 : Plan of the Parthenon (Source- www.jwilson.coe.uga.edu)
[3]
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Figure 56 : Parthenon-Front facade, tracing Golden rectangles (SourceAuthor)
Figure 57 : Parthenon-Front facade, Golden rectangles (Source-Author)
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Figure 58 : Parthenon-Front facade, tracing Golden rectangles (Source-Author)
Figure 59 : Parthenon-Front facade, tracing Golden rectangles (Source-Author)
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13. GOLDEN RATIO AND FIBONACCI SERIES IN NATURE
n botany, phyllotaxis or phyllotaxy is the arrangement of the leaves on the stem of a plant. The basic patterns are alternate, opposite, whorled or spiral. With an alternate pattern, leaves switch from side
to side. An alternate distichously phlyllotaxis means that each leaf growing at a single node is disposed in a single rank along with their branch (such as in grasses). In an opposite pattern, if successive leaf pairs are perpendicular, this is called decussate. A whorled pattern consists of three or more leaves at each node. An opposite leaf pair can be thought of as a whorl of two leaves. A whorl can occur as a basal structure where all the leaves are attached at the base of the shoot and the internodes are small or non-existent. A basal whorl with a large number of leaves spreads out in a circle is called a rosette. A mitigate pattern is a spiral composed of whorls. The pattern has also been observe to emerge in at least one animal cell (the red blood cell). During process that perturb cellular fluid dynamics. [5]
The leaves on a stem are positioned over the gaps between the lower leaves as they spiral up the stem. What is most remarkable about this spiral spacing is that irrespective of species, the rotation angle tends to have only a few values. By far the most common of which is Figure 60 : 137.5o as a part of a 137.5o. This is considered an efficient of ACM, July 2003, Vol 43.) arrangement to allow maximum sunlight
circle (Source- Communication
to reach each set of leaves. This angle is none other than the golden proportion relate to the perimeter of a circle.
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A repenting spiral can be represented by a fraction describing the angle of windings leaf per leaf. Alternate leaves will have an angle of of a full rotation. In beech and hazel the angle is 1/3, in oak and apricot it is 2/5, in polar and pear it is 3/8, in willow and almond the angle is 5/13,. The numerator and denominator normally consist of Fibonacci number and ts second successor. The number of leaves is sometimes called rank, in the case of simple Fibonacci ratios, because the leaves line up in vertical rows. With larger Fibonacci pairs, the ratio approaches phi and the pattern becomes complex and non-repeating. This tends to occur with a basal configuration. Examples can be found in composite flowers and seed heads. The most famous example is the sun flower head. This phyllotactic pattern creates an optical illusion of criss-crossing spirals. In the botanical literature, these designs are described by the number of counter-clockwise spirals and the number of clock wise spirals. These turn out to be Fibonacci numbers. In some cases, the numbers appears to be multiples of Fibonacci Figure 61 : Leaves on a numbers because the spiral consists of the stem demonstrating the whorls. [5]
Fibonacci Series as they spiral up the stem (SourceCommunication of ACM, July 2003, Vol 43.)
Leonardo Da Vinci was the first to suggest that
the adaptive advantage of the Fibonacci pattern is to maximize exposure to dew. Current thinking supports this interpretation. Phyllotactic architecture optimizes access to the moisture, rainfall and sunlight. [5] In further study it is seen that this spiral pattern in nature occurs from the very early stage, at cell stage where the cells are blocked by auxin in a particular manner and so the leaf started to grow in this pattern. It is also
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seen that the angle between the leaves is almost near to the golden ratio.
[5]
Figure 62 : Pine cone showing the Golden Spiral (Sourcehttp://oregonexpat.wordpress.com)
The human body is a perfect exhibit for the relation of golden ratio with fibonacci series and the manifestation of both of them together in nature. In the figure above the golden ratio exists in the ratio between each letters upper and lower case. Viz. A : a, b : b, c : c, etc.
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Figure 63 : The Fibonacci Series in human anatomy
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Figure 64 : A tendril of a plant spiralling along the Golden Spiral (Sourcewww.flicker.com)
Figure 65 : The Broccoli exhibiting Golden Spiral (Source-www.wikipedia.org)
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14. PROPORTIONS DERIVED FROM HUMAN ANATOMY
ccording to Vitruvius the navel is the natural centre of the body. If a man is placed flat on his back with his hand and feet extended, is a pair of compasses centred at the navel, the
figures and toes of his two hands and feet will touch the circumference of a circle[9] A mans arm stretched out has been found to be the same length as his height. The scrutinized mans figure by Vitruvius, explain the relationship of the parts to parts and part to the whole. The face from the chin to the top of the forehead and the lowest root of the hair is n tenth part of the total height. The open head from the chin to the crown is an eight. The neck and the shoulder, from the top of the breast to the lowest root of the hair is a sixth.[12] On the face, the bottom of the chin to the underside of the nostril is 1/3rd of it. The nose from the underside of the nostril to the line between the eyebrows is the same, from there to the lowest root of the hair is also one third. [10] Leonardo illustrates a mans body fixed in the centre of a superimposed circle and square easily and arms raised in V, to touch the circle and with feet together, arms stretched wide to touch the square.[11]
Various systems of proportions have been established from Vitruvius to le Corbusier. People have used them in a different ways. The use of system is to guide a designer.[12]
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Figure 66 : The image establishing that the human arm is in Fibonacci Series
Figure 67 : Relevance of Fibonacci Series and Golden Ratio in human body
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15.
THE MODULOR BY LE CORBUSIER
It is a scale of proportions which makes the bad difficult and the good easy. Albert Einstein
e Corbusier invented the word "modulator" by combining "modul" (ratio) and "or" (gold); another expression for the well-known golden ratio. He developed his proportioning system, the Modulor,
to order the dimensions of that which contains and that which is contained. He saw the measuring tools of the Greeks, Egyptians, and other high civilizations as being infinitely rich and subtle because they formed part of the mathematics of the human body, gracious, elegant, and firm, the source of that harmony which moves us, beauty. He therefore based his measuring tool, the Modulor, on both mathematics (the aesthetics dimensions of the Golden Section and the Fibonacci Series), and the proportions of the human body (functional dimensions).[8]
You know, it is life that is right and the architect who is wrong. Le Corbusier
Le Corbusier began his study in 19942, and published The Modulor: A Harmonious Measure to the Human Scale Universally Applicable to Architecture and Mathematics in 1948. A second volume, Modulor II, was published in 1954. [8]
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Le Corbusier saw the Modulor not merely as a series of numbers with an inherent harmony, but as a system of measurements that could govern lengths, surfaces, and volumes, and maintain the human scale everywhere. It could lend itself to an infinity of combinations; it ensures unity with diversity...the miracles of numbers. [8]
Figure 68 : The Modulor
270 + 430 = 700 430 + 700 = 1130 700 + 1130 = 1830 860 + 1400 = 2260
Thus, 270 430 700 1130 1830 And 860 1400 2260
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are two Fibonacci series from the decisive points of a six feet tall mans occupation of space. Extrapolating both of them on either sides we get two ever extending series in which the ratio between any pair of consecutive numbers is phi. The first series has the 1130 mm, it is the height of the solar plexus of the six feet man. This series was termed as red series by Le Corbusier. The other series having 2260 mm is the height of the upraised arm of the man and also the distance between his index fingers when standing with arms stretched. This series was termed as blue series.
15.1 DEFINING MODULOR

Modulor consisted of two limitless series namely, the red series and the blue series. The red series is generated by multiplying the measure 113, the solar plexus height from ground of a man six feet tall, by golden number, 1.618 and dividing it by the same. Similarly, the double unit, 226, the height of the arm upraised of a six feet man is divided consecutively by 1,618 and multiplied by the same to get blue series. The following will make the process more lucid. Hence when 113 is multiplied by 1.618 repeatedly, we get at each step 182.9, 295.9, 478.8 and so forth and when 113 is divided by 1.318 repeatedly, we get 69.8, 43.2, 26.7 and so forth. Thus this forms the nonterminating Red Series. Similarly we get 53.4, 86.3, 139.7, 226, 365.8, 591.8, . as the Blue Series when the same process is repeated with 226. The following table gives a part of the Red and the Blue series in metric system. The same can be obtained in imperial system by taking 44.5 and 89 as a substitute for 113cm and 226cm and following the same process of dividing and multiplying repeatedly.
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295.9
591.8
182.9
365.8
MULTIPLIED BY 1.618
226
MULTIPLIED BY 1.618
113
69.8
DIVIDED BY 1.618
DIVIDED BY 1.618
86.3
43.2
53.4
Figure 69 : Producing Modulor Series
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RED SERIES cm 95,280.0 58,886.7 36,394.0 22,492.7 13901.3 8,591.4 5,309.8 3,281.6 2,028.2 1,253.5 774.7 478.8 295.9 182.9 113.0 69.8 43.2 26.7 16.5 10.2 6.3 3.9 2.4 1.5 0.9 0.6 m 952.80 588.86 363.94 224.92 139.01 85.91 53.10 32.81 20.28 12.53 7.74 4.79 2.96 1.83 1.13 0.70 0.43 0.26 0.16 0.10 0.06 0.04 0.02 0.01 cm
BLUE SERIES m
117,773.5 72,788.0 44,985.5 27,802.5 17,182.9 10,619.6 6,563.3 4,056.3 2,506.9 1,549.4 957.6 591.8 365.8 226.0 139.7 86.3 53.4 33.0 20.4 12.6 7.8 4.8 3.0 1.8 1.1
1177.73 727.88 449.85 278.02 171.83 106.19 65.63 40.56 25.07 15.49 9.57 5.92 3.66 2.26 1.40 0.86 0.53 0.33 0.20 0.12 0.08 0.04 0.03 0.03 0.01
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15.2 UNITE DHABITATION, AT MARSEILLES

The principle work of Le Corbusier that exemplified the use of the Modulor to bring human scale to a building that is 140 meters long, 24 meters wide, and 70 meters high. The Unit d'Habitation (French, means Housing Unit) is the name of a modernist residential housing design principle developed by Le Corbusier, with the collaboration of painter-architect Nadir Afonso. The concept formed the basis of several housing developments designed by him throughout Europe with this name.
The first and most famous of these buildings, also known as Cit Radieuse (radiant city) and, informally, as La Maison du Fada (French Provenal, "The House of the Mad"), is located in Marseille, France, built 1947-1952. One of Le Corbusiers's most famous works, it proved enormously influential and is often cited as the initial inspiration of the Brutalist architectural style and philosophy.
The Marseille building, developed with Corbusier's designers Shadrach Woods and George Candilis, comprises 337 apartments arranged over twelve stories, all suspended on large piloti. The building also incorporates shops with architectural bookshop, sporting, medical and educational facilities, a hotel which is open to the public, and a gastronomic restaurant, Le Ventre de l'Architecte ("The Architect's Belly").
[24]
The flat roof is designed as a communal terrace with sculptural
ventilation stacks, a running track, and a shallow paddling pool for children. The roof, where a number of theatrical performances have taken place, underwent renovation in 2010. It has unobstructed views of the Mediterranean and Marseille.
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Inside, corridors run through the centre of the long axis of every third floor of the building, with each apartment lying on two levels, and stretching from one side of the building to the other, with a balcony. Unlike many of the inferior system-built blocks it inspired, which lack the original's generous proportions, communal facilities and parkland setting, the Unit is popular with its residents and is now mainly occupied by upper middle-class professionals.
The building is constructed in bton brut (rough-cast concrete), as the hoped-for steel frame proved too expensive in light of post-War shortages. The Unit in Marseille is pending designation as a World Heritage site by UNESCO. It is designated a historic monument by the French Ministry of Culture.
Figure 70 : The front facade of Unite DHabitation
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16. REGULATING LINES

16.1 INTRODUCTION
To leave a mass intact in the splendour of its form in light, but, on the other hand, to appropriate its surface for needs which are often utilitarian, is to force oneself to discover in this unavoidable dividing up of the surface the accusing and generating lines of the form. Le Corbusier
(Towards a New Architecture) The idea of regulating lines was not original to Le Corbusier. The principle of an ordering geometry had been in use since before antiquity. Renaissance architects onwards used ratios as a means of constructing an ordered geometry in a building, most visibly in elevation, but also in plan and section.
Le Corbusier argues from historical evidence that great architecture of the past has been guided by the use of what came to be known in English as "regulating lines." These lines, starting at significant areas of the main volumes, could be used to rationalize the placement of features in buildings. Le Corbusier lists off several structures he claims used this, including a speculative ancient temple form, Notre-Dame de Paris, the Capitol in Rome, the Petit Trianon, and lastly, his prewar neoclassical work in Paris and some more contemporary modern buildings. In each case, he attempts to show how the lines augment the fine proportions and add a rational sense of coherence to the buildings. In this way, the order, the function, and the volume of the space are drawn into one architectural moment. Le Corbusier argues that this method aids in
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formalizing the intuitive sense of aesthetics and integrating human proportions as well.
Le Corbusier claims in the text that no architects trained in the Beauxarts technique use regulating lines, because of contradictory training, but most of the Grand Prix architects did use them, even if they were supplementing the basic techniques.
If the diagonals of two rectangles are either parallel or perpendicular to each other, they indicate that two rectangles have similar proportions. These diagonals, as well as lines that indicate the common alignment of elements, are called regulating lines. They can also be used to control the proportion and placement of elements in other proportioning systems as well.
A regulating line is an assurance against capriciousness; it is a means of verification which can ratify all work created in fervour... It confers on the work the quality of rhythm. The regulating line brings in this tangible form of mathematics which gives the reassuring perception of order. The choice of regulating line fixes the fundamental geometry of the work... It is a means to an end; it is not a recipe. Le Corbusier
(Towards a New Architecture)
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16.2 VILLA GARCHES, BY LE CORBUSIER

The fundamental of Regulating lines have been used ectensively in the front and rare facades of the Villa Garches. The figure demonstrates the various regulating lines being used in the two facades.
Figure 71 : Front facade-Villa Garches, Vaucressen, France, by Le Corbusier (1926-27) showing regulating lines (Drawn-Author)
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Figure 72 : Rear facade-Villa Garches, Vaucressen, France, by Le Corbusier (1926-27) showing regulating lines (Drawn-Author)
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16.3 CANDORO MARBLE WORKS SHOWROOM

This little gem can be found in the small community of Vestal just across the river from downtown Knoxville. It was designed in 1923 by Charles Barber. We are inspired by its simplistic beauty. The building has total command of its site. Look at the view down the entrance road through the alley of cedar trees, what an amazing, formal entry! The garage to the side is more of a Mediterranean style, while the front facade is Classical, yet they blend well. The intricate details in the stonework show that this came from the shop of some very skilled craftsmen. The regulating lines below show that a great amount of thought went into the facade. Two overlapping golden rectangles form the main body. Inset between the water table and the base of the cornice are two perfect squares. The windows are golden rectangles, as well as the space between the columns. One often wonders just how much of this was planned and how much was designers intuition. Either way it is beautiful.
Figure 73 : The front facade of Candoro marble works showroom
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17. DESIGN PROCESS

The aim of the thesis is to exhibit a design process in the end that showcases the use Le Modulor as a design aid. Various steps are involved in achieving it. Case study, literature study and site selection form an integral part of the effort.
17.1 CASE STUDY

Le Corbusier worked on his philosophy regarding golden ratio, human anatomy and building design and as a result produced Le Modulor in 1950s. The buildings he designed after it are claimed to be following the concept by him. A case study was conducted in the Capitol Complex of Chandigarh to understand the implications. Capitol Complex of Chandigarh houses three buildings namely, Secretariat, High Court and State Assembly which functions both for Punjab and Haryana. The three buildings were studied in the light of the concept of Modulor. Various measurements from the Blue and the Red series of the Modulor scale can be identified in the Secretariat right from the structural grid to the elements of the dominating balcony. Similarly, a set of 15 measurements were made use of while designing Un ite DHabitation at Mersailles.
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Figure 74 Section and plan of Secretariat at Chandigarh
17.2 INFERENCES
The site demands that the building be built using Corbusiers philosophies and principles. Along with taking care of the faade control and the materials, special attention would be given to the use of Modulor to make the building aesthetically pleasing as well as functionally sound. After understanding the application of Modulor in the various works of Le Corbusier, the 11 storey at sector 17, will be designed to exhibit the application of the Modulor scale. The site and the building thus selected should be designed with utmost care to be in harmony with the already existing sector and should be able to justify being the highest building in Chandigarh. Moreover, it should be
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kept in mind that the 11 storey once constructed, would act as the focal point of not just the piazza but the whole sector 17.
17.3 CONCLUSION
The 11 storeyed office cum shopping complex at Sector 17 (Chandigarh) was designed with the aid of Le Modulor. The resultant of the process was a methodology for designing a building using Modulor scale as a design tool. The methodology is discussed below:
Select a form Sketch a few options for the form of the building. Select the most appropriate one depending on the clients choice, climate, zoning regulations, and site constraints. Choose a structural grid Simultaneously, Depending on size of the structure and functional requirements decide a structural grid taking measurements from either of the Modulor series. Take the chosen form and the grid decided and compare them by overlaying one on the other. Refine and Freeze grid Check the form and the grid for compatibility. In case the structure is unable to sustain the form, revise the structure according to the form. Do changes in either the grid, or the form, or both of them depending on the priority of the owner. Zoning Once the structural grid and the form are frozen, planning can be started. Zoning is the first step to planning, it should be done along the grid lines as far as possible Plan services Services are the most rigid part of planning. Adhering strictly to the norms and requirements, plan the services.
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Plan areas on grid Once the services are planned and placed, plan the served spaces adhering to the grid as far as possible. Work on levels Modulor measurements are derived from anthropometry and thus the levels and heights of a human-scale building coincides largely with Modulor dimensions. Select heights of siting, countertop, sill level, lintel level, ceiling level and any other height which is of consequence to the building and/or the user from the two series (prefer red series for furnitures and blue series for buildings levels). Merge the service layout, space layout, final grid and compare with the levels. Deviations from the grid Check for the need of any kind of deviations from the grid in the plan. Usability and norms Check for the usability of the spaces. Using Modulor while compromising the usability is not aimed at. Building norms should be respected. Changes should be made to accommodate all relevant norms and usability of the spaces. Tackle the deviations Take note of wherever the plan is deviating from the grid on account of planning, usability or norms. And then plan in a way that the deviations are also a measure from the Modulor series. This is aided by the additive property of the Modulor series. While doing so, take into account the fact that not all spaces are perceivable by the user and that the most frequent perception of the space by the user might be from a particular area. Thus use Modulor depending on this knowledge. Fix all dimensions Once all deviations are taken care of, fix all the dimensions in the design. Fine tune measurements Depending on the market practice, the skill of the labours and the
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construction techniques all dimensions may be fine-tuned or rounded off for convenience. The tolerance shall depend on the scale of the project and the architects discretion, but it should generally be maintained at less than or equal to (+-) 400 mm. Execution The design is ready for the preparation of construction drawings.
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18. SHEETS
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19. REFERENCES
19.1 ARTICLES
1. Thesis: An Objective Search And A Subject Analysis, TH-0874BHAR, 15897, Asit Bhatt, School Of Architecture, CEPT, A copy of which is available at CEPT library (Ahmedabad). 2. Review: Tom Riedel (Regis University), A copy of which is available with the author 3. Golden Ratio in Art and Architecture, Samuel Obara, University of Georgia, Department of mathematics education,
(http://jwilson.coe.uga.edu/EMT668/EMAT6680.2000/Obara/Emat669 0/Golden%20Ratio/golden.html), A copy of which is available with the author 4. A New Class of Geometrical Constructions, Janusz Kapusta, Brooklyn, NY, A copy of which is available with the author 5. Seminar: Geometrical principles in nature, Harsh S. Anjaria, Student of post Graduation, Department of Landscape Architecture, CEPT, A copy of which is available at CEPT library (Ahmedabad); and Simulation Modelling Of Plant And Plan Ecosystem, Communication of ACM, July 2003, Vol 43. 6. Thesis: Strategic Variations Attempted In Systems Of Proportion, Ashwin Milisia, RATH-0064MIL, 1972-73, School Of Architecture, CEPT, A copy of which is available at CEPT library (Ahmedabad), p. 72-73
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19.2 BOOKS
7. Effels Engg Work And Millarts Bridges Ch- 03a 8. Architecture : Form Space Order, Francis D. K. Ching, John Willy and Sons Inc, USA, 1943, A copy of which is available with the author, p.2869. 3rd Book, Ten Books On Architecture By Vitruvius, A 720VIT, A16097, A copy of which is available at CEPT library (Ahmedabad) 10. 4th Book, Ten Books On Architecture By Vitruvius, A 720VIT, A16097, A copy of which is available at CEPT library (Ahmedabad) 11. Francisco Giorgio architectural principles in the age of humanism, Rudolf Wittkower 12. The Modulor, Le Corbusier, Faber and Faber, London, 1954, A copy of which is available with the author; and Modulor 2, Le Corbusier, Faber and Faber, London, 1958, A copy of which is available with the author 13. Six Houses, Le Corbusier: Architect of the Century, Tim Benton, Hayward Gallery, London, 1987, p.61 14. Banham, Reyner, The New Brutalism: Ethic or Aesthtic?, Reinhold Publishing Company, New York, 1966, p. 16.
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19.3 WEB PAGES

15. Marquadat Beauty Analysis, Aesthetics Research & Diagnostic Analysis (http://www.beautyanalysis.com); last referred on 18th dec11, at 10:00pm. 16. GAP System, School of Mathematics and Statistics, University of St. Andrews, Scotland, (http://www.gapand
system.org/~history/Biographies/Hemchandra.html) referred on 12th dec11, at 6:00pm.
(http://www.gap-system.org/~history/Biographies/Fibonacci.html); last 17. Merriam-Webster Dictionary; last referred on 16th dec11, at 12:00pm. 18. "Aesthetic Judgment", Stanford Encyclopaedia of Philosophy, Nick Zangwill, 02-28-2003/10-22-2007. 19. www.wikipedia.org; (http://en.wikipedia.org/wiki/Pentagram); (http://en.wikipedia.org/wiki/golden number); (http://en.wikipedia.org/wiki/phyllotaxi)last referred on 17th dec11, at 6:00am. 20. http://milan.milanovic.org/math/english/golden/golden4.html; referred on 16th dec11, at 5:00pm. 21. Phi and the Golden Section in Architecture; http://www.goldennumber.net/architecture.htm; last referred on 15th dec11, at 8:00pm. 22. Harmony and Home Where Balance, Serenity And Living Come Together. http://harmonyandhome.blogspot.com/2008/12/goldenmean-and-modern-design.html; last referred on 10th dec11, at 3:00am. 23. Marseille's Cit Radieuse: photos and hotel review (http://www.tripadvisor.com); last referred on 6th dec11, at 6:00am. 24. Fibonacci Numbers and Nature-part 2, Why is the Golden section the "best" arrangement?, Ron Knott, last
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(http://www.mcs.surrey.ac.uk/Personal/R.Knott/Fibonacci/); last referred on 5th dec11, at 10:00am. 25. http://archgeom.blogspot.com/2010/03/golden-section-in-tajmahal.html; last referred on 28th nov11, at 5:00pm. 26. http://www.flickr.com/photos/ad_symphoniam/3926961973/lightbox/; last referred on 10th dec11, at 10:00am. 27. http://books.google.co.in/books?id=1KI0JVuWYGkC&printsec=frontco ver&source=gbs_atb#v=onepage&q&f=false; last referred on 1st dec11, at 5:00pm. 28. http://books.google.co.in/books?id=exnMTOE_tEC&pg=PA159&dq=The+modulor:+a+harmonious+measure+to+the+ human+scale,+universally+applicable+to+architecture+and+mechani cs&source=gbs_selected_pages&cad=3#v=onepage&q&f=false; last referred on 1st dec11, at 5:00pm. 29. http://www.marseille-citeradieuse.org/corcite.php?zotable=tabcmsv1_cms&zotype=accue&zopage=corsite&zogra=Galerie%20photos&zogrb=&zogrc=&zopcles=&zohaut=8 00&zolar=800&zocols=1&zocarti=ffffff&zofonti=b51a13&zopafond=& PHPSESSID=f943c3da07df6455a9659abbcc5094d8; last referred on 4th dec11, at 4:00pm. 30. http://books.google.co.in/books?id=5ja3GavJssC&pg=PA130&lpg=PA130&dq=The+modulor:+a+harmoniou s+measure+to+the+human+scale,+universally+applicable+to+archite cture+and+mechanics&source=bl&ots=HMV_5DNg9z&sig=HkWX_D ojvn6Wm9UDihLhbu4qEc&hl=en&ei=tnyDTuCJJpCIrAfk0aivDg&sa=X&oi=book_res ult&ct=result&resnum=9&ved=0CE8Q6AEwCDgK#v=onepage&q&f=f alse; last referred on 1st dec11, at 2:00pm. 31. http://www.intmath.com/numbers/beauty.swf; last referred on 17th dec11, at 2:00pm.
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Fibonacci Series and Golden Ratio in Architecture

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FIBONACCI SERIES AND GOLDEN RATIO IN ARCHITECTURE

AN AESTHETICAL APPROACH AND A FUNCTIONAL ANALYSIS