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General: LEOH MING PEI, MASTER ARQUITECTO (CHINO/ESTADOUNIDENSE) DE LA PIRAMIDE DE LOUVRE
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Ieoh Ming Pei
Ieoh Ming Pei.jpg
I. M. Pei en Luxemburgo, año 2006
Información personal
Nombre de nacimiento 贝聿铭 Ver y modificar los datos en Wikidata
Nombre en inglés I. M. Pei Ver y modificar los datos en Wikidata
Nacimiento 26 de abril de 1917 (101 años)
Flag of China (1912–1928).svg CantónRepública de China
Nacionalidad estadounidense
Educación
Educado en
Información profesional
Ocupación arquitecto
Movimiento Estilo Internacional Ver y modificar los datos en Wikidata
Obras notables Pirámide del Museo del Louvre
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Ieoh Ming Pei (nacido el 26 de abril de 1917), conocido comúnmente como I. M. Pei, es un arquitecto estadounidense de origen chino. Terminados sus estudios escolares, a los 18 años se trasladó a los Estados Unidos para estudiar arquitectura. Logró matricularse en el prestigioso Instituto Tecnológico de Massachusetts, donde se graduó en 1940. Entre 1945 y 1948 amplió su formación enseñando en Harvard como profesor adjunto, bajo la tutela de dos famosos arquitectos europeos, Marcel Breuer y Walter Gropius. A raíz de ello se considera a Pei como uno de los sucesores americanos de los grandes maestros de la arquitectura europea.

En 1955 Pei adoptó la nacionalidad estadounidense y al año siguiente fundó su propio despacho de arquitectura, I. M. Pei and Partners. En sus proyectos Pei busca la pureza de líneas, unida a una eficacia funcional, siguiendo el llamado "estilo internacional" y los criterios de Gropius. Utiliza frecuentemente formas abstractas, recurre a materiales fríos, como el acero, el cemento y el vidrio, e incorpora efectos que resultan impactantes para el observador. Sus obras se caracterizan en muchas ocasiones por unas estructuras que requieren soluciones valientes. Pei es uno de los arquitectos más apreciados de nuestro tiempo. Ha realizado proyectos en lugares repartidos por todo el planeta. Su trabajo fue reconocido en 1983, año en que recibió el premio Pritzker, el galardón de mayor prestigio internacional en arquitectura. También ha recibido la Medalla de Oro del Instituto Americano de Arquitectos, y otras muchas distinciones.

Obras representativas[editar]

Ampliación del museo de historia de Berlín.


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"Numbers are the language of the universe"

(Pythagoras)

Mary Magdalene & Gematria

A system of numerology called Gematria was used by the Jews which gives a numerical value to a word or even a phrase.  The reason for having Gematria was that a numerical equivalence could not be coincidental. Since the world was created through God’s “speech,” each letter represents a different creative force. Thus, the numerical equivalence of two words reveals an internal connection between the creative potentials of each one.  Gematria was also used among the Greeks and was in common use at the time of the writing of the New Testament.

One name in the New Testament is of course Mary Magdalene and the Greek Gematria of her title “H Magdalhnh” adds up to 153.  The number 153 is very important as it is a symbolic number in the canon of the Greek geometers most particularly it is a numerical abbreviation for the "vesica piscis".

The Vesica Piscis, which the Greeks and Pythagoras referred to as "The Matrix" and "Doorway to Life", is when two circles are drawn together so that the edge of one passes through the center of the other.  Its also significant that circles are used to create the Vesica Piscis as any circle that has a diameter of 7 units will have a circumference of 22 units. Those two numbers also have a connection with Mary Magdalene as her feast day is on the 22/07 (July).

So with that in mind, let's look at the calculation for the area of the circle with the “7” radius. The formula is “pi” (22/7) times the square of the radius (7 x 7 = 49).   22/7 x 49 is 154.  If you use the alternative decimal version of “pi” (3.14) the result 153.86, the Vesica Piscis and the Magdalene.

Magdalene Gospel

So what does this tell us about Mary Magdalene and the connection with the Vesica Pisices? The answer is possibly found in Mary Magdalene's Gospel which tells us of the nous, "were one does not see through the spirit or soul but through the nous which is between the two—that is what sees the vision".

As explained on the spiritual engergy page on this website, the nous is the Greek word for mind and in ancient texts rasing one's level of consciouness or nous brings you closer to the divine.  Placed within the Vesica Piscis we have the nous at the central part of the two overlapping circles with soul and spirit on either side.  The nous therefore, is taking its role as the "minds eye" in accordance with the shape of the central part of the Vesica Piscis.

When Mary Magdalene spoke of seeing Jesus in a vision, he said "Blessed are you, that you did not waver at the sight of me. For where the nous is, there is the treasure".  Mary Magdalene through contemplation and spirtual illumination found the inner vision within herself, through her minds eye.

Mary Chapel

The Mary Chapel, Glastonbury with the central part of the Vesica Piscis.

The Vesica Piscis and Mary Magdalene have a special connection in Glastonbury, England.  In 1908 the Church of England appointed the gifted architect Frederick Bligh Bond who was placed in charge of operations at Glastonbury Abbey and is one of the first documented examples of psychic archaeology.

Frederick Bligh Bond had indicated his belief that the dimensions of the buildings at Glastonbury Abbey were based on gematria.  Bond claimed to have psychically contacted dead monks and the builder of the Edgar Chapel at Glastonbury, who advised him where to excavate.

One of the most potent places in Glastonbury is the ruined Mary Chapel and its proportions are based on the geometry of the Vesica Piscis and were discovered by Frederick Bligh Bond.  Some people believe this chapel was dedicated to Mary mother, however, some including myself believe it was dedicated to Mary Magdalene.  Its worth noting here that on the southern outside wall there is a inscribed stone, perhaps alluding to the sacred marriage of Jesus and Mary Magdalene which has two names, Jesus and Maria. These are the very same words on a banner carried by Joan of Arc during the crusades, relating to the sacred bloodline.

Chalice Well

Mary Magdalene being put to rest in her tomb from the film The Da Vinci Code.

Not far from the Mary Chapel is the Vesica Pisces found on the lid of Chalice Well which was also designed by the excavator of Glastonbury Abbey, Frederick Bligh Bond.  There is also the Vesica Pisces shaped pool water at the bottom of the garden.  Legend says the grail itself is buried within the Chalice Wellgrounds, but what about another version of the Grail legend which suggests that Mary Magdalene herself, or more specifically her womb, could have been the true Holy Grail? Is it possible that Mary herself is buried beneath the well. Its also worth noting that the Mary Magdalene ley energy line runs through both the Chalice Well and the Mary Chapel on the abbey grounds.

The problem is that alot of places including England and France claim to have the bones of Mary Magdalene or the burial place of her tomb or grave.  Until there is an offical record or 100% evidence then we will never know.  Gematria and its scared numbers has made it an interesting thought that Mary Magdalene might well rest under the Vesica Pisces at Chalice well or even the Mary Chapel at Glastonbury, but even if she is not, at least we can learn from the Nous, the centre point in the Vesica Pisces.

http://www.midnightmagdalene.co.uk/419656773

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Vesica Piscis

Still on the Pythagorean connection, there is another series of triangles featuring number 288. This series also has the number 153 (fishes) and the aptly named vesica piscis.
Picture
 

The term "vesica piscis," meaning "fish bladder" in Latin, is used for the particular symmetric lens formed by the intersection of two equal circles whose centers are offset by a distance equal to the circle radii. The proportions of this lens is given as 1:√3 or approximately 153:265 (no better approximation can be obtained with smaller whole numbers).
Picture
 
The basic shape of the vesica piscis has been adapted as a Christian symbol, called the Ichthys, from the common Greek word for fish (ιχθυος).

ΙΧΘΥΣ (Ichthys) is an acronym for "Ίησοῦς Χριστός, Θεοῦ Υἱός, Σωτήρ", (Iēsous Christos, Theou Yios, Sōtēr), which translates into English as "Jesus Christ, God's Son, Savior".

Augustine in his Civitate Dei, notes that the generating sentence "Ίησοῦς Χριστός Θεοῦ Υἱός Σωτήρ" has 27 letters.

  • 27 = 3 x 3 x 3
  • 2 + 7 = 9
Others have similarly adapted this symbol to disprove exclusive ownership rights:
Picture
 
The numbers 153, 265 and 288 also allude to the sefirot of Chesed and Gevurah:

  • 1 + 5 + 3 + 2 + 6 + 5 + 2 + 8 + 8 = 40
  • φ(153) + φ(265) + φ(288) = 400

   "The LORD is gracious, and full of compassion; slow to anger, and of great mercy."  Psa 145:8

"The LORD is gracious and full of compassion;" (חנון  ורחום  יהוה) has a gematria value of 400. The sefirah (the plural is sefirot) associated with grace, compassion and mercy is Chesed. Its companion, Gevurah is associated with stern judgement. Their combined gematria values total 288!
Picture
 
Chesed (Primary meaning: Mercy. Also known as: Grace, Love of God, right arm of God)
Gevurah (Primary meaning: Judgment. Also known as: Strength, Severity, Fear of God, left arm of God)

It is interesting that when Jesus instigated the catch of 153 fish, he instructed that the catch should be from the right side of the boat (indicating Chesed, or the right arm of God).

"And he said unto them, Cast the net on the right side of the ship, and ye shall find. They cast therefore, and now they were not able to draw it for the multitude of fishes."  John 21:6
https://www.biblegematria.com/288-holy-sparks.html

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Math in Architecture and the Golden Section

 
math in architecture

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

Math in Architecture

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:

Parthenon

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.

Math in Architecture

Parthenon Golden Section

Notre Dame Cathedral in Paris

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.

Math in Architecture.

Notre Dame Cathedral in Paris

Taj Mahal

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.

Math in Architecture and the Golden Section

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.

 

https://bleckarchitects.com/math-in-architecture/



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