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Sacred Geometry,

Sacred Architecture and

the Magic of Intentionby  Richard Caldwell 

I Believe:When I gaze upon the Taj Mahal or Mount Fuji, when I

smell a rose or an essential oil, when I listen to Vivaldi or to

a mockingbirds song, m! heart opens" I e#perience being

loved and cared about, and I am $illed with a sense o$ well

 being% It is m! intention that someone encountering some 

thing I have designed will have a similar response%

Inherent in these things to which m! heart responds are

the unseen, eternal patterns, divine proportions, and vibrational $re&uencies o$ 'ods blueprint% That part o$ me that

recognizes divine harmon! and order is in resonance with%

these% unseen elements" spiritual presence is thereb! sensed,

consciousl! and(or unconsciousl!%

M! bod!, and all o$ li$e, is generated $rom these same

unseen elements% The proportions o$ m! bod! con$orm to

the divine ratios that also $orm hone!bees, sun$lowers, and

the chambered nautilus% This hidden pattern is a universal,

limiting constant, while parado#icall! having the power to

generate an unending variet! o$ li$e $orms, all e#isting

within divine proportions% %

M! bod! and senses, as e#tensions o$ this pattern,

make me a living antenna% When I see, hear, touch, taste,

.. _.  _-!" smell an!thing that contains these sacred elements, I

consciousl! and unconsciousl! )tune in) and have the

e#perience o$ )*hhh+)% *t that moment I e#perience the

$eeling o$ being in love, and the $eeling o$ receiving 'ods

unconditional love% In turn, this contributes to harmonizing

#ichard S. Cald$ell Architect 

% &radltlonal Architecture

% Green Architecture

% Sacred Geometry

% Blo Geometry 

rlchard'cald$ell(mac.c om 

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and balancing all levels o$ m! internal

state, and what naturall! $ollows is a

 balancing and harmonizing o$ m!

response to the e#ternal world%

! using proportions, and arrange

ments o$ space and light, in harmon!

with the underl!ing order o$ things, I

intend to $acilitate architecture that

emits a range o$ VIbrational $re&uen

cies" $re&uencies which o$$er an

opportunit! to connect with the divine%

-oing so can provide an environment

that is li$e supporting, com$orting,

serene, harmonious, and beauti$ul% M!

sel$.assigned job is to reveal through

loving intention What is alwa!s there,

as the sculptor reveals the beauti$ul

$orm hidden within the stone% It is a

 joy and a pleasure to be servant to this

m!stical process%

/ssential to revealing the unseen,

creative order and mani$esting it as

sacred architecture is an appropriatel!

$ormed Intention to do  just that%

Intention is the magical link% Intention

connects me witli universal wisdom

and universal knowledge" it sets in

motion the in$inite creative power o$

the 0niverse to mani$est whatever I

intend%In creating sacred architecture,

the $ormation o$ the Intention is the

real task and the real opportunit!%

1olding the Intention is paramount%

2pening ourselves to such things as

 biogeometr!, Feng Shui, the beauti$ul

intricacies o$ nature, and the ancient

harmonic vision o$ Sacred 'eometr!,

enriches the Intention and the subse

&uent outcome%

It is important to understand the

in$luence o$ Sacred 'eometr! in the

creation o$ sacred space% Sacred'eometr!, also known as the 'olden

Mean" The 'olden 3ectangle, The

-ivine 4roportion, The 'olden Section,

and, The -ivine 2rder, re$ers to the%

m!stical ratio 4hi 5cjl6, mathematicall!

e#pressed as 787%97: %%% , the ratio o$ the

 part to the whole that appears in the

 proportions and $orms o$ all living

things% It perhaps e#ists at some level

in all things we deem beauti$ul%

The principles o$ Sacred 'eometr!

were handed down to us $rom ancient

/g!pt b! wa! o$ 4!thagorus%

4!thagorus educated the earl! 'reeks,who then in$used their art and archi

tecture with the 'olden Mean% For

eons, the divine proportions have also

 permeated the e#pressions o$ virtuall!

all cultures whether the! had a name

$or it or not It is the natural outcome

o$ pa!ing attention to nature and to

what pleases%

Interestingl!, our credit cards and

 business cards are almost e#actl!

'olden 3ectangles, i%e%, i$ the short

side is e&ual to 7, then the long side is

e&ual to 7%97: %%% , the same ratio thattells a branch where to spring $rom the

trunk, the lea$ where to place itsel$

relative to the previous lea$, the rose

how to arrange its petals, the star$ish

how long to grow its legs, and the

human bab! how to proportion all its

 parts as it grows%Intending to have this divine

creative principle and divine propor

tion inherent in whatever is being

designed, provides an opportunit! $or 

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the outcome to ce uplr$%%ing andlite enhancing%

)eith ;ritchlow in his essa! in,th/

*oot+ HomagE to Pythagorus sa!s,)Sacred space is designed to be asirresistible as possible to spiritual and

intelligible presence.the location o$the heart in the spiritual sense and thecentral organ for the dispensation o$ grace in the metaph!sical sense% Theword most appropriate $or spiritual presence is 'race% The grace.receivingspace is there$ore the space that isspeci$icall! designed with the intention o$ being a receptacle capable o$receiving the blessing o$ spiritual presence%)

'race is balance% With the aimo$ designing something that taps intoand becomes an emitter o$ balancingenerg!, the designer 'ee,' to createacred space% -r% Ibrahim <arim,an

architect $rom ;airo% is teaching ane#cellent approach to doing just this%1e has, over the past => !ears, $ormulated a theor! o$ what the ancient?/g!ptians were up to in working withetheric energies through the use o$form, line, shape, color, and  placementto create balancing energ!% Ibrahimcalls his theor! iogeometr!%

iogeometric energ!, also knownas alancing energ! or 'old energ!, iswhat e#ists at the center o$ the center,

,8) at the center o$ all circular and spiral

motion" it is wisdom" il is 'od" it i' 

the none#istent point o$ per$ection$rom which all o$ creation $lows%When'old energ! is present, it is balancingat all levels8 spiritual, emotional,mental, and ph!sical%, 'old energ! can *e created man!

Wa!s, such as using certain mouldings,

shapes, patterns% sounds, colors, positioning o$ objects, interpen@tratingspaces, and implied transparenc!  b!arrangement o$ architectural, elements%Its e#istence can be detected using acalibrated pendulum and the bod! asan instrument, and then having thetester go into resonance with what is being tested% 0sing the bod!, the pendulum, and the right brain as aninStrument, in$ormation on ethericenerg! that e#ists be!ond rime,space, and t $ive senses, can be

accessed% T@/8 presence > ;88.Id energ!causes

circle8 I$ *alancing ene)g! "@ not

 present the pendulum merel! swingsto and $ro% This approach holds the promise thal grace vilf *e /re'er-i inthe $inal design%

* major 'ource o$ inspiration t2I

achieving sacred architecture is in

keenl! observing nature and theemotional response to 7t% I$ I observe adragon$l!s wing, or wave, patterns in asand! creek bottom, or the colors anddesigns in a peacock $eather, I ame#periencing the most direct e#pressions o$ 'od I can imagine% *ll thesacred proportions, harmonies, and patterns are o$$ered up right here in$ront o$ me% I do not have to under stand it or e#plain it in order to get it% Ionl! have to be aware o$ how it makesme $eel% I$  0am in awe and e#perienc

ing bliss, andIcon'ciou'ly connectthis to what Iam  viewing, then

the essential in$ormation ismagicall! wired into m! being, *sI design

something, that which is in m! being isnaturall! e#pressed" I can tweak thedesign till Iget the same responsesthat Iget b! observing nature, Follow

ing this allows $or a continuum trom thesacred e#perienced to the sacredcreated and back to rhe sacred e1/ert

enced again% I $ould hope that the end

design is a tuning $ork 8&he house shown on these pages iscurrentl! under con'truetlon in St%

Tamman! 4arish% The design re$lects theowners desire that in addition toserving ever!da! living, this home wi87 be a place o$ healing and a temporar ! place o$ worship% Its pian and $orm

embod! all the things e#pressedherein%  /lements o$ Sacred 'eometr!and iogeometr! are, b! consciousintention, integral to the design 2ight passes completel! through the 'truc

ture, unencumbered, along lightsplines integrated into the pian%These light pathwa!s are there to lenda sense o$ calm and serenit!, and toallude to timelessness and the eternalm!ster!%

The house is a virtual sundial" itslong a#is runs due east and westoriented to the sun, instead o$ magnetic north, so it moves in the direction of the earths spin, ge$ 8e %%atingd!nami; shadows 3ir:hl~"0,~ 456StIe

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2perable vent $laps in the cupola,wide overhangs, dogtrots, and largecustom ridge vents cool the housenaturall!% eingin the house is like

standing in.the shade o$ a tree%Thiscooling e$$ect is kind and respect$ul o$

Mother /arth since it makes lessdemand on her $or consumption o$resources%

This is the $irst house built in the-.'. u'ing?*iogeometric principles$rom the ground up% I brought the

 planswith me to one o$ -r%<arims workshops in Florida to use as an e#ampleo$ iogeometr!,and to re&uest that hetest it $or balancing energ!% 1e swunghis pendulum over the entire plan anddetected 'old energ! ever!where% 1esaid an!one enteringthis house willhave an e#perience similar to being in;hartres ;athedral in France, and thatit will indeed have a healing e$$ectonthe owners and all who visit%

From an architectural perspective,the most e#traordinar! aspect o$ thisstructure was discovered long a$ter theworking drawings were $inished% In thecenter o$ the center module, the livingroom and kitchen share a large rectan

gular space with a cathedral ceilingrising to the cupola at the e#act

center% *t nine $eet above the $loor, atr iangular shaped biogeometr icmould.

% ing, that in and o$ itsel$ creates balancing energ!, passes continuousl!along the $our walls around the room%I noticed that the room looked close to%the 'olden 3ectangle and, on awhim, I decided to see just how closeit actuall! came to the -ivine 4ropor tion% I discovered that the rectangledescribed b! the outermo't edge o$ the

 biogeometric moulding runningaround

the room was within one &uarter o$one inch o$the 'olden 3atio 0:708 ....

This happened spontaneousl!, it wasnotconsciousl! planned%

I trul!  believe that gracehasentered this place through the magical,'od.given power o$ m! Intention%

 Richard Caldwell is a licensed

architect with over 40 years

e# peri-

% ence in both commercial and residen

tial development. e is a devoted

 student o! "r. #brahim $arim% and 

 !ocuses a &i'ni!icant part o! his prac 

tice on incorporatin' the principle s o!

bio'eometry and sacred 'eometry into

his desi'ns.  Richard can be reached at B:C.=D=.C:D: %%

 Additional #e'ource'

Boo':

Sacr ed Geomet ry - #o*ert 2a$ler

Sac red Ar c hit ec t ures - A.&, Mann

T he Pow er of Umit s - G yorgy

9oci

T he E l ements of Dy namic Sy mme

- ;ay <am*idge

H omag e to P y t hagoras - edited *y

Chr i'to/her Bamf or d - /u*li'hed *

2indi' =ame $$$.li n di'tame .o r g .

>e*'ite':

9r . I*r ahim )arim - Biogeometry -

$$$.* io ge o m e try .c o m .

i*rahimar lm (h otma n.com 

International In'titute f or Bau Biolog

and ?,cology- '/on'or ' 9r . I*rahim

)arim -

$$$ .* au- * iolo g ie u'a .co m.

*au*iologie ( ear thlin. net.

$$$.d an $inter. com  - 'acr ed

geometry

6e'ica S/irit and Science #e'our c

- 'acr ed geometry, *iogeometry,

$e'tern tr adition ot '/iritual 'cien

- $$ $ .v e ' ic a .o r g .il.lf  o (ve'ic a .o r g 

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