There is a great way to express pi of 22/7 using two concentric circles of diameter 11 and 14 (in any units). Normally, a diameter of 7 gives rise to a circumference of 22, when pi is being approximated as 22/7 (3.142587) rather than being the irrational number 3.141592654 … for then, the 14 diameter should have a circumference of 44, which is also the perimeter of the square which encloses a circle of diameter 11.
The square of side 11 and the circle of diameter 14 will both have the same perimeter.
Recent analysis of animal bones within Durrington Walls indicated, to the archaeologists involved, that people had travelled there from all over the British mainland, along with animals then eaten inside the henge. But what would these people be doing there? It had earlier been suggested that an elite responsible for building Stonehenge lived in a wooden roundhouse within the henge ( see figure 1). So, people may have come from elsewhere to help the building works now found between Stonehenge and Avebury.
More recently, pits have been found  within a circular strip that I notice lies between 3168 feet and 4038 feet from Durrington Walls, a boundary 864 feet wide. The pits may contain the material remains of the building elite and perhaps of those workers who died, functioning like nearby barrows but vertically.
This post aims to explain why this might have been done according to a significant geometrical pattern. In the megalithic, numbers played an active role and this perhaps inspired the myth of Atlantis recorded by Plato – the classical Greek writer who transmitted the ancient notion that numbers had a causative role in forming the “world soul”, rather than our usage for number: a means to quantify things within civilized societies or laws of nature.
Einar Palsson [1, at end] saw that the myths of foundation for Iceland’s settlement in 930 had Pythagorean roots. Since then Petur Halldorsson has identified patterns that could not have been influenced by Pythagoras (c. 600 BC) and Pythagoras was known to have adapted the existing number sciences found (according to his myth) from Egypt to China.
Such patterns, called Cosmic Images by Halldorsson , seek to establish a geometric connection between places on the landscape and on the horizon, here in the south-western region near Reykjavik, the only Icelandic city. The spirit of a region or island was integrated through organising space in this way, according to centers (Things) of circles and their radius and diameter as numbers of paces, circles punctuated with places and alignments to other places, horizon events or cardinal directions. John Michell provided a guide to some of the techniques in his books [2, at end].
In 1972 John Michell inferred an enormous ten-sided form nearly sixty three miles across, in which important historical and neolithic sites had been intended as ten vertices around an ancient centre, signified by a Whiteleafed Oak.
Michell had previously [1991 now The Sacred Center, 2009] developed the idea of the enchantment of the land as an actual practice; land areas were enchanted by using a geometrical pattern integrated with myths and ritual calendars, enacted within that framework. This was long before, around 930, such a pattern was being established of thing-places in Iceland. The idea of thing places is still find-able in English names such as Goring, the centre northeast of Stonehenge, where the summer solstice sun arose.
“Perpetual choirs were a Celtic institution, from pagan into early Christian times. In Iola Morganwg’s Triads of Britain, translated from Welsh, it is stated that ‘in each of these three choirs there were 24,000 saints; that is, there were a hundred for every hour of the day and the night in rotation, perpetuating the praise and service of God without rest or intermission.’ ” – The Measure of Albion
“Three of the choirs were located at Stonehenge, at Glastonbury, and near Llantwit Major in Wales. Others appear to have been at Goring-on- Thames and at Croft Hill in Leicestershire, a traditional site of ritual, legal, and popular assemblies.” The Dimensions of Paradise