Grid of the Gods by Joseph P. Farrell, Scott D. de Hart Page B

And was we shall see in chapter thirteen, this is a profound clue to hyper-dimensional geometries, to geometries done in more than three spatial dimensions.
    Here we must begin, however, to take some issue with Munck, for from a strictly geometrical perspective, there is no difference between terraces and faces; for a geometer, they are both the same. Additionally, we would have to multiply his numbers by four, since there are four sides to the structure (remember, the terraces count as one face since they extend around the entire structure, so we do not multiply them by four).
    We would get the following adjusted table of numbers:
     
1) Centered faces (i.e., faces and terraces)     10
2) Offset faces (i.e., faces and terraces)          19
3) total faces (i.e., all faces and terraces)         29
    Note that we are counting only the faces of the basic structure, not the faces that would be added from the staircases and so on. Now there are two more numbers that should be added to this list: corners and edges:
4) Number of corners, or vertices                  44
5) Number of edges                                      78
    As we shall see in chapter thirteen, these sorts of numbers are strongly suggestive of strange sorts of hyper-dimensional objectscalled compounds, though as we shall also see, there is a problem. But nonetheless, these sorts of numbers permit us to offer yet another speculation about what kind of machines they are: by dint of the numbers of faces edges, and vertices embodied in their numbers, these objects appear to be constructed as three-dimensional analogues of higher-dimensional objects, as resonators of them.
    If this sounds like the flights of purest science fiction fantasy, it isn’t, for the mathematician Hugh Harleston Jr, whose diagrams we have been utilizing, noticed the same thing about the musical and tetrahedral properties of Teotihuacan, and its relationship to the physics of the medium:
The angles and perspectives in the Teotihuacan layout appear to Harleston to show the framework of an integrated earth and heaven - along with the megaspace of the heavens above - as being the work of a master mathematician. To Harleston the messages of Teotihuacan point to a new way of looking at time and space, and to some new source of energy from the cosmos, some new field fabric that our science has not yet isolated…
     
    Harleston says that once the student at Teotihuacan learned the important values of thirds, sevenths, and ninths, that squares and sqaure roots were basic mathematical tools, the next step was to understand the relationship of two simple geometric solids: the sphere and the tetrahedron.
     
    It was some time before Harleston found the clue to a tetrahedral geometry incorporated into the Teotihuacan complex, but he finally found it in the dimensions of the Pyramid of the Sun. Unlike the Pyramid of Cheops, which is a very exact scale model of the Northern Hemisphere (with the apex as the North Pole, the base as the equator, and its perimeter equal to one-half minute of arc), the Sun Pyramid does not fit such a system; it does, however, very accurately give the entire surface of the earth. 36
     
    Why is this so? because as we have already seen, the tetrahedral number of 19.5 is already approximated in the structure in terms of its number of faces and π. But there is also another way it is incorporated:
     
Oddly, or coincidentally, the relation between a tetrahedron and a sphere constitutes the thrust of the work of Buckminster Fuller, who, in his book Synergetics , maintains that the tetrahedron gives the basic mathematical blueprint for the universe.
     
    From what he calls his “isotropic vector matrix” Fuller obtains a constant of √9/8, which comes to `1.065066, so close to Harleston’s 1.059 constant that it fits the Teotihuacan complex virtually as well. 37
     
    This tetrahedral