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Geomancy Process

Buildings and Design

Areas for our use and design

Sacred areas are all over the planet; and in general, all places on earth have some quality of sacredness because the whole earth is sacred. Yet certain places or areas have a greater degree of positive energies, just as certain places have an unusual, special beauty about them. The most special areas of natural energies and beauty ought to be left alone, to be enjoyed in their most pristine natural state.

However, there are many other areas, with sacred or especially positive energies, that are alright to build upon, to some extent, or to place useful structures, so that the area can be enjoyed or made use of, while also respectfully preserving its natural sacred-positive energies. We need to give extra consideration to these areas where one is building, landscaping, or making changes to the original natural circumstance. As well, we need to use our highest intuition mixed with our most awakened sensitivity to determine what can be accomplished for the benefit of human-use – yet also for the land.

In geomancy design and healing work, we have to deal with the realities at hand. We can’t just plow down everything and begin anew. So, we need to freshly look at and work with each specific area, in order to enhance what is already there, while always considering the greater whole and doing whatever we can to help the overall situation. We have to work with the realities that are now present, both the natural and the man-created realities. Also, before building or placing anything on the land, we should be aware of and understanding the energy realities and needs of the surrounding area

Through our right use and the placement of harmoniously structures on the land, we can actually help the land resonate with greater power and healing, and allow the surrounding energies to flow into and out of these sites with ease. We can bring forth greater potentials of these sites with good works, harmonious pattern, proportion, form and beauty.

Any created object or building placed on the land has a particular positive or negative effect on the surrounding land, its flow and quality. Any architecture placed on the land adds to and changes that local geography and landscape of energies, thus adding to the physical features and subtle energies of the local geography and landscape.

So, there are many areas that can be enhanced with some creative structures or alterations on them. These natural sites are more receptive for us to make use of them, to build on them, or make aesthetic improvements. Very often, these are areas with more yin polarity and more magnetic quality, rather than electrical yang quality (see chapters on Power Points and Qualities). These are areas with more receptivity to our unique creativity, and they invite us to create more beautification and harmonious use.

In certain special places we can create a beautiful, contemplative garden, or a picnic area, or possibly a built place of worship. We might place a special symbolic or religious monument on this site, taking care to harmonize with the surrounding qualities of the area.

Designing with nature

The first principle of geomancy for any building or changes to the land is to respect and take into consideration the needs of the land. These include the etheric needs, aesthetic needs, and physical needs. Etheric-energy (or subtle energy) needs have to do with the geomantic fact that each place is part of a larger energy-field or energy-web, and also connected in an ecological flow of energies (such as connecting ley lines).

Each place, no matter how small, is connected and part of a larger energy web and flow. Therefore, whatever we do at one single area could produce effects all around it in other connected areas. This could be a good thing, if we do something right and with beauty in mind, but what we do could also have negative effects if done without any contextual or ecological consideration – (of both physical and energy ecology).

So each area of land has its greater contextual energy needs, to be respectfully considered and harmonized with. This also applies to aesthetic considerations; for we also should consider the aesthetic context and affects of any design plans or changes to the land. For example, in design and placement, the beauty of what is done and how well this aesthetically harmonizes with its connected surroundings should be of high value in our decisions Beauty, aesthetic harmony, and even the joy of aesthetic experience, are super important geomancy goals, not to be neglected.

So then, the first principle of geomancy is respectful consideration of how a place fits in harmoniously with its subtle-energy and aesthetic surroundings. The second and related principle is to do no harm to the existing natural energy web, nor to the aesthetic context, and nor to the physical ecology of the larger surrounding area.

Note though that it is possible in geomancy to improve the existing situation of things – even to improve the natural energy flow and also to increase the overall natural beauty of an area. We can make things better by what we do, and we can even improve the quality of our natural world. Geomancy is not a pure hands-off-nature philosophy. But if there are reasonable doubts about the positive effects of our designs and actions, then geomancy prescribes a cautious leave-it-alone approach.

The principle to follow is to leave the existing nature just the way it is and not mess about with it, unless one is fairly certain that any changes or new designs will not harm the existing energy connected web, not harm the overall aesthetic harmony or beauty, and not harm the surrounding physical ecosystem. Make changes to 'what is' only when there is reasonable certainty that these changes will produce energy, aesthetic, and ecological improvements, or at least not harm any of these values already present.

The next related principle is to design and build in harmony with the existing nature of this area. In other words, don't just design over nature or to re-place nature; but rather, first consider how to design with nature or in harmony with the nature and beauty that is already present.

Whereas a common approach in building or design is to simply tear up what is naturally present, then place one's human conceived design on top of a nice clean empty canvas. This is the arrogance of deranged human egos; whereby the designer, or quite likely the greedy business, has a fixed-conceived plan for the land which is then imposed onto the land, after first destroying the nature that is already there, so that the design or plan can sit nicely on top of a shaven, blank landscape.

The geomancy approach is opposite to this, because it follows a principle of first respecting the nature already present and then designing with this present nature or in harmony with it. To use an aesthetic example which also has analogy with energy considerations, suppose one wants to build a house on a certain piece of land, and suppose that a wonderful tree is already present there, or perhaps an amazing large boulder. It would be better to work with the tree or the boulder, and thus design the house around the natural phenomena, rather than rip it all out so that one can achieve a design planned out without any real consideration of the natural values already present; like making the architectural plans in a distant office on a blank piece of paper, without the designer even bothering to see or take into consideration the beauty already there. Think about how stupid and arrogant this is.

Whereas the realization of geomancy is that we are never beginning with a blank piece of paper, because there are already existing at any area of land natural beauties, natural energy patterns and flows, and an existing ecology; which we first want to respect and work cooperatively with. First, see how to work with. Next see how to enhance the energy and aesthetic values already present. Then thirdly, see what added beauty and creativity one can bring to the land, without harming the values already present.

Now on more of a micro-scale there will be a need, many times, to cut away or remove somethings present on the land, in order to re-plant or re-place an area. Practically speaking, this is unavoidable at times; as for example when weeds or overgrown foliage need to be removed, in order for more beautiful or more useful plants to be planted and sustained.

So the above geomancy principle – of working with the nature already present and even perhaps yielding to what is – cannot be strictly or fanatically followed in every little situation. But the principle does serve as a reminder to first of all treat nature with respectful consideration and harmonize with what is already present; unless one is fairly certain that new designs or changes on the land will actually improve the overall aesthetic, energetic, and physical ecosystem.

Placement, Orientation, and Shape

In geomancy building design (and there is more on this discussed in the chapter on design), orientation is of special concern. The four geomancy aspects of building design are:

  1. placement (where on the land to place whatever it is)

  2. orientation (in relation to the four directions or to special landmarks)

  3. shape and size of the building /or structure

  4. shapes, sizes and placements of the interior rooms

  5. functional and aesthetic concerns.

Right placement of where a kind of building would best be on a given area of land depends on earth-energy considerations, but also depends on the significant factors of: intended function, aesthetic wishes, and the ecological needs of the land. The functional use of the building, (what activities or uses will be there), will be an important factor in design, planning and placement. But geomancy adds in subtle energy factors to this obvious functional factor. That is, one deciding factor in right placement is how a functional-use can best relate with the given earth energies, since function and energies can work harmoniously together.

Best orientation can depend on various factors, and one has to decide which of these is most important in the given situation. It can depend on where the best energies or most desired kinds of energies are coming from. It could also depend on significant landmarks, such as a significant mountain, or a lake or valley, or some special vista, which might have a special radiating earth energy as well as having an aesthetic value.

Geomancy makes a study of energies already on the land, but also studying energies coming into the land and from what direction. A basic geomancy principle of design and land-use is that any building placement and orientation should be based on where energies now are on the land and the direction of where energies are coming into the land.

A knowledge of the seven quality-types of energy is useful, because each different type brings a unique quality of energy (see Kinds of Energy), and this is not too hard to learn, but more simply one can just be sensitive to positive energies and the direction of where they are coming from. One could use dowsing, or just practice feeling it. Or perhaps one knows the direction of special sacred places or power sites. Then, once one senses the direction from where the more positive energies are coming, one would then make appropriate choices in where to place and orient things.

Orientation in placement can also depend on the sun, as in where the most sun comes from (usually south), or where is sunrise or sunset. Directions of sunrise and sunset depend on the time of year, so if one wants to be more precise in orientation then one should chose either a solstice or equinox as the deciding factors.

Orientation might also be guided by the four compass directions. In general, wisdom is thought to come from the north, happiness from the south, love and social well-being from the west, spiritual or creative inspiration from the east. What is also special about orienting by compass direction is that this does actually correspond with directions of earth magnetism. So in many cases, it is good to start with compass orientation; as for example, a house or building could be oriented such that its sides face the four directions, with one side being particularly emphasized by a prominent large window or entryway.

However, the other orientation factors could well trump the simple compass orientation. So adjustments in orientation should be made according to sun, special landmarks, or significant earth-energy lines, any of which could be more important than just the compass direction. Another factor is any strange places or energies that one wishes to not enter into the home or building. For example, don't have the entry door facing a dump or a cemetery; those places may have their own useful function, but consider what kind of energies you want to daily come in the doorway. So we need to consider the whole reality of what is around, and the kinds of energy coming from each direction, in relation to where we live or to how we orient new buildings.

Shape, which is really about ratio and proportion, is functional dependent, and size is too; this means that the right shape depends on the required function. In the evolution of life species, shape and function play a significant role in adaptation. But shape is also an important aesthetic aspect; meaning that shape creates an aesthetic influence and each shape has an aesthetic value.

Yet also, each shape/proportion has a distinct vibrational energy influence. Any shape, proportion, or pattern creates a distinct vibrational resonance and influence. This particular vibrational resonance is also attracting to similar energies; that is, a certain shape, proportion, or pattern will energetically attract energies of like kind. Therefore, this principle of resonance attraction can be used in geomancy work and design, in order to bring in certain positive qualities of energies.

So, each kind of shape, proportion, or pattern will produce a distinct energy vibration – producing a certain kind of energy effect in those present in that shape. In other words, we are vibrationally affected by the shapes we are in – by the shapes of rooms and buildings. And we are vibrationally affected by the proportions and patterns immediately around us. Then finally, each shape and proportion creates an energy resonance which attracts certain kinds of energy. Therefore, geomancy studies and applies a science of proportion. Right proportions can be discovered intuitively or by feeling; but geometric understanding can also be used.

Four Values for design

Design for both buildings and landscapes should follow four great Values: functional use, aesthetics, ecological and earth-energy harmony. The latter should include the harmony of local earth energies with the larger context of earth energies. Both kinds of 'ecology', the physical and subtle, are similar in principles.

Some day the ecological movement and studies will include its natural sister, the ecology of subtle earth energies; but for now, the physical ecology movement has enough of a hard time convincing the idiot masses of its importance to everyone, let alone including the more esoteric and subtle world of ethereal ecology, the ecology of earth energies. Even aesthetic values and concerns have an uphill struggle against the ingrained values of economics – which is how to maximize cheap for the masses while maximizing profit for the few.

Also similar to ecological and earth-energy concerns, aesthetic values affect all who live in the area. The aesthetic beauty and harmony of our environment affects us greatly – it affects us emotionally, but even more subtly in our higher energy centres. So too are the effects of the subtle earth energies around us and moving through our living spaces. We are affected by these energies, as much as we are affected by the food we eat and the air we breathe; just that we do not so easily notice these effects – which is why they are called 'subtle energies'. Nonetheless we are affected by these energies, just as we are affected by the aesthetic qualities of our world, even if one is not obviously conscious of this.

Those who are conscious of this must then point it out to those who are not. If some people develop an evolved sight and see what is ahead in the distance, they would be responsible for telling the near-sighted people what is coming their way. Some of us have somehow acquired an extended ability to sense and feel energies, that many others do not yet have. This is part of the wave of evolution. In the same way, some have a better sense of aesthetic beauty, than others. A new aspect education should be the development of aesthetic senses and subtle-energy senses, just as education attempts to develop reading and math abilities. Because mostly all it takes is simply some practice; for which the average person makes no effort.

Subtle-energy sensitivity and awareness is very much like aesthetic sensitivity. And the integral interrelatedness of subtle energies is very similar to system principles of physical ecology. Yet subtle energies also have a related functional aspect, meaning that we can make use of these energies to benefit our lives. So in this sense, earth energies are similar to functional values.

But getting back to the four values – functional use, aesthetics, and ecological harmony – all three are important. For example if we are designing a home, the kitchen would need to be very functional. A beautiful aesthetics is certainly not enough in a kitchen. The kitchen needs to be highly functional and thus designed with function as a high value. This might even include its possible integrative-function in relation to what is outside in the garden. For a truly functional design would mean that there is easy access to the vegetable and herb garden, yet not down wind from the compost pile. And what about the sun? Perhaps a kitchen window should face the eastern morning sun, in order to warm the kitchen with heat and light, for morning breakfast; unless a sunset kitchen is more valued for the intended residence. And the kitchen also needs aesthetic quality – perhaps a décor to promote relaxed peacefulness yet with enough energetic quality to inspire the cook. And the subtle energies needed would be qualities of efficiency, labor, yet also love to go into the food.

So all of the four values need to enter into the consideration of any design. Yet there will be argument about this. The functionalists will argue that their value is most important. The aestheticists will argue that their value is most important. The ecologists will argue likewise for their value. And the geomancers might argue that their value is most especially important over all other possible values. So in this teaching we step forward to say that All of the values are equally important, as long as there is a Higher Value of righteous Balance between all four. Thus balances the Great Wheel.

The real important question in all of this is Quality. What is the Quality/Value of the subtle energies we live within and are affected by? And the Quality of aesthetics that we want to live in and be affected by? And what is the Quality of our physical ecology in which we are dependent on. And how well do the places we live and work functionally serve our practical needs? A high enriching quality, or a low degrading quality? Whatever we do, let us promote Quality.

Sacred-Natural Proportion

Designing with and using sacred geometry is a very powerful way of enhancing the land and everyone there with healing and harmonious energies. The subtle energies of the land can be enhanced by our creative use of sacred-natural pattern and proportion. These create harmonic resonance through the land and resonating throughout the area, which help enhance the harmony of subtle earth-sacred energies and also harmonize energies in our human bodies and psyche.

We can beneficially use sacred geometric patterns placed in the landscape or in buildings for protection, healing, balance, and for resonating or anchoring higher qualities and vibrations of subtle energy. Use of certain kinds of stones, gems or natural elements can amplify, resonate and focus qualities to an area. This is especially beneficial at certain places on the land where ley lines cross or natural positive vortexes occur.

One needs to study the area and the intended use there on, to determine the best pattern and shape needed. Certain qualities of subtle energy will resonate according to the patterns and proportions used. Remember that pattern and proportion create vibrational tones and musical harmonics, just as music certainly has a psychological-emotional effect on us.

Examples of geometric shape are too many to discuss here, but they can be found in the mathematics of geometry and in actual microscopic scientific pictures of natural inner structures. Sacred proportion and geometry are also found in many religious structures throughout the world, as designed by those who understood the esoteric science of such. Examples of sacred proportion are the golden mean, golden spiral, the Vesica Piscis, use of Pi and Phi, and of course circles and ovals.

Lastly to mention is that use of geometric patterns and proportions should not become an overly fanatical obsession, such that our common sense and natural aesthetic sense are dismissed. In other words, or generally speaking, one should ultimately trust one's own aesthetic sense for what is most beautiful or most harmonious. So if our aesthetic sensitivity feels that a particular geometric or set-pattern is not right for a certain place, or that a more spontaneously derived pattern creates greater harmony and beauty than a proposed geometric pattern; then go with what feels best. Sacred geometry is great to use and it will certainly have a positive influence, but a geometry that is slightly modified or more spontaneously conceived might well create a finer harmony.

Just consider for example music and also natural life. Many wonderful pieces of music are patterned on geometric and sacred number principles, yet these geometric-intended pieces are certainly not the only music having aesthetic beauty and producing harmony and joy in us. Yet underlying all great music are variations of geometric pattern. Same with nature. The underlying structure of plants and flowers are geometric patterns and designs; however, if exactly measured, these trees, plants and flowers do not have exact geometric proportions or shapes. Nor do we find any untouched natural landscape looking like a perfect geometric pattern with perfect geometric shapes all around. Nature is much too spontaneous and often irregular; rather than being a fixed and rigid design.

So there are appropriate instances to make use of exact geometric shape and pattern, but we should be careful to not impose one rigid model of perfection all over everywhere. Let us be as experimentally creative with the landscape, as we are with music. Yet always keep harmony and natural cooperation high up on the scale of value and importance. And in many instances, it is best to just let the spontaneity of nature unfold, and see what unique beauty this may bring.

Pattern and Resonance

The overall land-use pattern of defined areas and buildings can be designed to benefit the land and our lives, when we consider the relationships between things in the most comprehensive and holistic manner. If we are dealing with land already having certain defined areas of use and structures there on, we can help these better relate together harmoniously. When there is a need for some type of use or building, we can design and place these in a way that relates harmoniously with the existing creations, the shape of the land, the ecology of the area and the subtle energies.

As discussed previously, ley lines have different aspects or qualities manifesting more or less, and certain dominant qualities can be tapped and attracted for certain uses. It is most efficient to place our uses along the existing lines of these qualities, yet the use itself will attract, by resonance, like qualities, dependent upon the agreement, receptivity and anchoring pattern. We can attract qualities through pattern, shape and symbolic art-form. It all works according to the principles of resonance and receptive accumulation. With the right frequency of vibration, it is possible to tune into a similar resonance.

We may want to sedate certain overly intense qualities of energy coming from the surrounding environment, or even on our land. Or, we may want to enhance certain qualities, or bring these qualities into specific places. Or, we may want to better balance the qualities for an overall harmonious effect. This is all done through the principles of attracting-directing energies through correct pattern and placement, and resonance. The particular quality of our pattern and use will determine the particular energies attracted, and of course we can rightly place things in line with the particular quality of energy needed. We can place markers, monuments or creative structures to resonate areas of the land for amplification, receptivity and accumulation of energies, whether it be in a general or specific way.

In addition, remember too that the vibrational 'sound' of our consciousness, thought and agreement create resonating patterns and long-term effects. This can especially be powerfully and longer lasting in its effect if done in group ritual. We can effectively create a great resonating power of united and synergistic consciousness, with directed thought or prayer or group ritual. Certain group rituals using sound, thought and movement can invoke and generate positive resonating qualities to an area.

Creating Order

Two Geomancy Principles:

* Discover and respect the natural order

* Create order and beauty in the world

An aspect of geomancy is to do with creating harmonious order. First, though, we need to perceive an inner order in nature, or perhaps the inner potential order of nature. Then, we can proceed to creating harmonious order, or at least help in its potential unfoldment.

Part of the geomancy aim is to help the natural places of earth unfold their inherent potential Order, and thus to help manifest harmonious order and beauty -- in the most complete and integrative way possible. In this way, we are participating in the spiritual-natural unfoldment of Divine Intelligence and Order, and of harmony and beauty.

To do this most appropriately and beneficially, we need to first perceive and understand the deeper intrinsic natural order that is already waiting to be manifested, or brought forth from potential into actuality. Then we will understand what can and needs to come into expression. This could be called the potential destiny of a place. As well, it is also important to perceive, consider and respect the surrounding environment of any particular place, or of any particular project, so that what we do and what we design at any place is in harmony and integrative with the surrounding environmental natural ecology and the surrounding earth energies.

First in geomancy, the larger overall existing Patterns of the surrounding environment are studied and respected in any work or design. It is best to first be in harmony with the existing Patterns or existing natural Order of the land. This Pattern/Order will be somewhat unique for each particular place on Earth, but one will usually recognize general Patterns similar to many other places. So to be harmony with natural Order, we must study and work harmoniously with the existing Patterns as they are.

Then second, there is a possibility to make evolutionary transformations at particular places. That is, it is possible to make changes on the land and with earth energy flows at a site, in order to make improvements at this place, on this land, in this area. Here, the aim is to improve, or even heal, the quality of energies on the land and also to help beautify the land.

We will still need to study, respect, and design harmoniously with the surrounding existing natural Patterns; but we are also bringing forth potentials of harmony and beauty in a particular place which have yet to be actualized. And so in this work, we need to perceive an under-laying potential Pattern/Order. We need to see what is inherently underneath the existing obvious, or the deeper structure of Order which awaits recognition and expression. We need to see what of the divine-natural Potential is awaiting to unfold into manifestation, with our stewardship help.

So, we are not just harmonizing with the existing natural Patterns, but also harmonizing our work with the under-laying natural Pattern. So we need to see the hidden intrinsic Order that is seeking to express; then work with this - which will have its own inherent power, intelligence, and potential flow.

Remember the principles of Harmony, Integration, Order, and also Flow. Flow is an important aspect of Harmony, and it is also essential in the overall surrounding environment and even throughout the whole planet, because the earth energies need to flow and connect in order for harmony to exist and for an evolutionary unfoldment to occur. Unblocked flow of energies is vital to any healthy body, and the earth body is no exception.

Ideals of Freedom and Order

The concept of Order could be confusing. As used in geomancy, order does not necessarily mean a fixed or rigid pattern or design. Many people will literally turn off to or resist any ideal of order, because they see order as an opposition to freedom and spontaneity. We see this in the history of art, music, and other creative forms, because artists very often feel a creative urge to break free of an existing order, which has become limiting and restrictive. We can understand all creativity as a kind of dialogue or dialect between order and freedom. Order constrains, while freedom breaks constraints. Yet both have a need in any process of creativity. Both, constraining order and freedom, can also be applied in any landscape or architectural design. A good basic structure of order can be quite helpful for possibilities of freedom.

So in any work and design involving harmony with the natural surroundings, we need to consider these two essential principles of order and freedom. Intentional design order can bring forth specific qualities of energy or even attract certain helpful energy-qualities from the surrounding energy matrix. Yet there also has to be sufficient unconstrained freedom in the land, in order for energies to flow in their own natural way.

Some kind of manifesting order is part of the divine purpose, or one could think of manifested order as being essential to beauty. Order is important, but we should not impose on the land, or in nature, our limited idea of right order. All creative designs and work upon the land will unavoidably involve some kind of order or ordering, but we need to be cautious about imposing our limited ideas about right order, because our ideas might be based on old conditioned beliefs or also involve our own arrogance.

Realize that right order, or perfect order, is not necessarily a perfect geometric design. For example, it is not a geomancy aim to create perfect geometric designs all over the planet, or to shape the natural world into geometric order or into any kind of fixed order. We need to see what real natural Order is, beyond the simple kinds of order that we might first think is right or perfect. This will require humility on our part, and in a practical way we will need to refrain from imposing too much of our own ideas-of-order on nature, and so allow more of nature to just be as it is and to unfold in its own freedom. Thus, geomancy work and design will sometimes involve religious or cultural patterns, sometimes geometric patterns, or sometimes the golden mean proportion; but we should not get fanatical about anything.

We have this innate craving for order and connecting patterns in our lives and in our environment. And yet we also thrive on creative freedom and the mystery of the wild. So this is not to suggest that the environment should look like a vast array of perfect geometric shapes. This would be quite boring, and is not how nature is intended to be. Beauty is in irregularity as well as in defined order. Reflecting the subsisting natural order is to bring forth the greatest possible beauty, which has many elements to it and can involve a highly complex order. Complexity-of-order and harmony-in-diversity are elbows of beauty.

Man craves for and needs some order in his life, and part of waking up is to create order in our personal expression and environmental ordering, both social and physical. Man also seeks to explore and discover life through creative freedom, just as we see in all living forms. We seek to find and express our uniqueness, and this reflects our special beauty to others around. This is not just speaking of man or woman, but of all life.

Freedom can only be sustained within some surrounding order, and order is only meaningful if it holds freedom within it. So, on the one hand we struggle and play with freedom, and on the other we need to submit to a greater order, a greater life and a greater love given to us. Ultimately, we can only hope to learn from and emulate nature, the world we come from and have our being. There is nothing else possible, because within nature are the laws of life and manifestation, and whatever we can do of beauty and goodness will be a variation of the basic principles at work in nature. We are given the task to be conscious re-conciliators between freedom and order. It can sort of happen unconsciously, maybe, at least in some way; but here we are living on this planet, so why not participate consciously?