The modular was made to be meant as a system where proportionality is universally used, thus keeping the ambition of vast,devised and reconciled maths, in the human form which would contribute towards architecture to give the harmonious look within a single system.This was thought to being used in both industrial and mechanical forms of architecture in some era later.This measurements was based on an average english detective that come in crime novels of le corbusier, typically falling in the height of a 6 foot man. This man was scaled to being accordingly equal to the golden section, within a ratio as approximate as possible to 1.618. The sequence of numbers adding up from one of the other which were known as the fibonacci sequence, was the base of a negative or positive movement towards infinity for the rational proportions. Mathematical architecture was what caused corbusier’s to hunt what obsessed pythagoras , vitruvius and leonardo da vinci.Le corbusier created the modulor following the steps of vitruvius, leonardo da vinci’s vitruvian man. Thus discovering a mathematical proportion in the human body that was used to improve architectural knowledge.A fibonacci spiral created by drawing circular arcs connecting the opposite corners of squares in the fibonacci tiling.He saw this system as a pathway to lead towards the long tradition of vitruvius, leonardo da vinci’s “vitruvian man”.He used the golden ratio in his modular system to apply the architectural proportional scale. A man’s body within a pentagram shows the relationship to the golden ratio. The big box model shows le corbusier’s concept and his proportions to free plans and free facades. Within each box in it, is a golden rectangle or a root 5 rectangle. Combined together to form the “Big Box” where spaces are not restricted, as they can be changed to please a person’s imagination towards a design of his liking. This formal device can be found in elevations (example: Villa Savoye South east elevation)A product that uses the formal device as accurate as it could possibly go, is the villa savoye itself, as le corbusier uses the golden rectangle and root 5 rectangle as a method to set the positioning of the columns, ribbon windows, and the heights of the columns along giving the divisions of spaces internally and externally. “Proportion can define the character of a work and a designer with a good eye can often intuit good proportions”.A repeating square grid is another way of modern proportional methods as many buildings use it instead of the rectangular method. Yet resulting in unalike elements within a design that could be noticed. The modular is based on a 2.26m height english man with his hand held above him.His ratio and proportions of different parts of his body configure towards the mathematical series of numbers , going to achieve a harmonious design. For le corbusier , the base of standardization in The human life is the modulor man scale and proportion within designs in architecture for the best harmony.In an age where mathematical potential was shown incredibly between 1943-1955 The modular scale should be mostly used.. mathematically proportional systems in platonic venerations, coordinate dimensioning combined with systems with practical needs,the birth of a new era took place,the era of the modulor man. The proportional scaled system of le corbusier was based and related to the fibonacci series , Where each number when added to the previous number, forms the closest number to the golden section which forms the evidence of le corbusier’s human body (modular man) figure. As le corbusier said “Maintain the human scale everywhere” as in buildings and architecture to give proportioning systems. As in all of this manifests, striking towards an organization where molecules forms the ting being built around humans through a harmonious measure based on the scale of the man. The so-called solution of the placing of the right angle within two identical squares , served the starting point for the modular in 1942 impulsively. His interest in basic forms and structures of natural phenomenon , and as he comes from a family that encourages musical education he was able to appreciate the craving and harmony through pythagorean number ratios. proportions of the vitruvian man. This promoted the familiar logo of the “michelin man”. The modulor was presented to provide a harmonic scale of measurements using the human scale, to being used universally through mechanics and architecture from the base of mathematics through the He has opposed a lot of thoughts and negativity coming towards him throughout the years of discovery and even after the presentation of the modulor man, his responses to some were printed in the minds of many. They go as follow:”I will fight against any formula and any set of instruments which take away the least particle of my freedom. I want to keep freedom so intact that at the very moment when the golden figures and diagrams point to a perfectly orthodox solution i may reply: that may be so, but it is not beautiful. And i conclude, once and for all: i do not like this, i do not feel it with my taste, my flair, all the intuition of which i have a good enough share to know when i must decide that here is something i do not want.”His responses were not towards math itself, nor mathematicians, yet towards reliable repudiation to his subject of the modulor which he referred to as his “invention”.Which conferred to a facility which would be used as a sure measure, which had unlimited choice of combinations within the modulor which the choice would be yours. All of his work comes out of passion and the seekment of proof in a life which he had to match forward in and cease, where the modulor created a unitary state of aggressionated textural description in interior and exterior facades/aspects of a building in its final architectural form of harmony. As the eye sees the facade in the same way a painter sees a painting, with each proportion as perfect, strict, as it could be in the objective of its core meaning. Urbanism and architecture, where large buildings stand out in a landscape, was not the way he wanted to approach architecture. He didn’t want it to appear from the first glance on site, as the eye goes beyond frontal views, and tiers. Where a ground retreats into its distance, a satiable and less intellectual harmony stands into one’s mind.