Architecture
_I: As you said, the movements of the universe intertwine the waves creating patterns, figures, that design structures. This is the emergence of matter. Matter, then, would be in constant motion... But why do we perceive it as static?
_AM: Everything moves, and there are different ways of seeing it, because some movements are deep and slow. This is directly related to the wavelength at which an object develops, that is, what frequency level its waves are. Which would translate into higher gravity objects that have a low frequency, and therefore their movements are so slow that they are imperceptible to human eyes, like the precession of the Earth's equinoxes. And on the other hand, they can be so fast that they are impossible to see, like the movement of an electron inside an atom, or photons in the environment. Both faster and slower produce the same effect: it becomes impossible to observe. This is what causes the brain to register it as static, since it does not perceive its movement.
_I: Oh, I understand…
_AM: But everything is in motion, and one of the ways to understand it is transformation. Every object you see has gone through a transformation process that is considered movement. The cup is plaster that was once a mountain in another part of the world, the fork is an alloy of metals that come from quarries in another part of the world, forming part of tectonic plates that have been built from the melting of rocks in the form of lava due to the pressure in the volcanoes. The mirror is sand, melted particles of minerals that were once on beaches and deserts, from the erosion of the world's oldest mountains. Everything that seems static to you is in motion, at different rates than yours, and that is why you do not perceive it clearly, in the same way that your eyes cannot perceive colors that are outside the range between 350 and 800 nanometers. of frequency.
_I: So, as we said yesterday, everything is dancing, it's just that some dance “techno” music and others dance classical dance, ballet, or something slower like the sardana.
_AM: That's right.
_I: And they all follow certain rhythmic patterns, a meter... That generates the structures we talked about yesterday...
_AM: Tetrahedron, Octahedron, Hexahedron, Dodecahedron, Icosahedron, and all those derived from these figures.
_I: And from them, the foundations that support reality appear...
_AM: Who design the known universe...
_I: Which gives rise, as I see, to the last of the fine arts of antiquity: Architecture.
_AM: Architecture comes from the Greek words “arké” (main) and “tektón” (mason, builder), an Indo-European word (“tek”), which means “to weave”. The suffix “ura” refers to the final product. Thus, architecture is the product made by the main builder.
_I: In our case… the Universe.
_AM: The term arises in relation to the master builder. In the first instance, humans gathered mud and rocks, and built a structure where they could get inside. But some found techniques to improve these constructions. While it was generally the farmer himself who made his house, or later the blacksmith, the worker who managed to build with his own hands, some were so ingenious that they dedicated their lives to something called “engineering”.
_I: Oh, I had never seen clearly the concept of what it means to be an “engineer”, it is someone who has ingenuity, who is a genius at solving structural problems, in any of the areas.
_AM: Genius comes from the word “gen”, which means “to give birth”, “to engender”, and in Rome the spirit that was born with each person was called “genius”, who guided and gave attributes to children, like a luck of Guardian Angel with his wings. In ancient times, gifts were celebrated and offered to this genius for having come on the day of birth to accompany the child, the origin of birthday parties.
_I: Oh… Wow… So we celebrate our genius…
_AM: Be with genius, have ingenuity. Thus, it was considered that geniuses were the ones who gave superhuman abilities to some people, who were capable of changing the lives of many. The Ingenious became professionals, becoming Engineers, improving the quality of life, above all, with the art of construction. In ancient civilizations, the professional in charge of directing the ingenious work was called “Principal Builder”, and from there we have inherited his Greek name “Architect”. The Architect engineer had to direct the other construction engineers, and to do so, he had to study key things: mathematics, arithmetic, chemistry, physics, geometry, geography, orography, design, painting. All this led in turn to understanding the meter of music, as well as the physical structures of the human body. There was only one place where so many arts and sciences together could be learned...
_I: The agora of the Philosophers. Sites like the one portrayed by the artist Raphael in the Vatican mural called “School of Athens”.
_AM: In these schools, the ingenious learned and shared about the arts and sciences with great love, and gave a transcendental meaning to the topics of study. The Universe was a mathematical spirit that manifested itself in geometries. The cosmos was an orchestra that performed music with the spheres. The universal spirit designed the most beautiful sciences that gave rise to perfection, and therefore, technique and metrics were not enough, the sciences had to have art, beauty, aesthetics, in the same way that the cosmos designed a flower, a peacock, a conch. Prior to the Greek schools, Mesopotamian philosophers, Egyptians, those from the Indus Valley, the Yellow River and Central America, had also formed their schools, uniting science and art as the spirit and body of a Creator God. Many, especially along the Nile, had interpreted that if everything that existed was the design of a mind capable of constructing beauty from geometry, that mind, then, must be the First Builder of the Universe. This idea resonated deeply with the builders, who stopped feeling like mere bricklayers, to be nothing more and nothing less than representatives of that God on Earth.
_I: Like the god Thot, the architect…
_AM: That's right. His holistic understanding of the cosmos allowed him to make the plans that designed the pyramids, not only as a magnanimous construction, but as a universal one, connected to the stars, the human body, music, mathematical sciences, beauty, and movement. Architecture stopped being taken as the construction of houses, to become the art of building the body of God: temples. Its columns, metrics, height, width, art on its walls, the shapes of its walls and capitals, the proportions, the vanishing points, the porches, the axes and forts or buttresses, marked the planning of bringing Heaven to Earth. .
_I: Ater Tumti, heaven on earth, was the plan for the construction of the divine body in the mundane… Is it part of the architecture?
_AM: They were the architects, elevated to the rank of priests, who demonstrated their capabilities through secret techniques, directly received from the connection with the divine.
_I: Which is why to this day many of the constructions of the ancient world remain incomprehensible to us, we cannot understand how they were made...
_AM: Because they built with much more than a mallet, a square and a compass. They built taking into account the entire Universe and all its internal and external factors. For this group of priests, God was the Great Architect.
_I: I've heard this, this is how Freemasons refer to God.
_AM: The history of Freemasonry comes directly from these priesthoods. Originating in the Middle East, holistic architecture schools were courses on initiatory paths that prepared the body, soul and spirit of people, making them students of reality, universal philosophers.
_I: Origin of Universities.
_AM: Exactly. These schools had reached Greece, but the Greeks made their trips to the Nile, Mesopotamia and Anatolia to obtain data and experience. With the arrival of Christianity and its expansion throughout Europe, many of these schools were closed, understanding that the mysteries of God should remain as such, and that humans did not have the right to proclaim themselves as understanders of them.
_I: And they prohibited all universality of knowledge…
_AM: Islam and Judaism kept these universities alive for a long time, until Christianity imposed itself on both sister religions, leading them to apathy, and turning them into extremists. However, throughout southern Europe, some clandestine schools continued to teach the ancient arts. After the fall of the Roman Empire and the beginning of the Middle Ages, there was a great decline in construction, going from having enormous temples and buildings such as the Palatine in Rome, to simple Romanesque churches and rustic houses. But everything changed with the rise of the bourgeoisie, when the wealth that the 15th century brought promoted the growth of the cities, leaving the small churches in ridicule. Thus, Christianity chose to allow architects and master builders to return to the studies of the Middle East, and recover the architectural arts of ancient civilizations, to build much larger churches, which would prevail over cities as the only power of God on Earth.
_I: And that's how the Cathedrals emerged.
_AM: And so the brotherhoods of the square and the compass reemerged, the architects representing the builder God, all recognizable by their symbols and clothing, as well as by carrying a mallet. And for this, they were known as “Masons” (from the French “maçon” (that kneads, that molds). Freemasonry incorporated those university philosophers who sought to understand all the arts of creation in order to build the body of God in the world, as their predecessors had done in the past.
_I: But then Freemasonry moved away from architecture…
_AM: After the social revolutions of the 18th century, they dedicated themselves to the construction of new towns, economies, schools and countries. Remember, they were Universal Builders, although during the times of religion, the Masons stuck to the construction of buildings. In this way, the school of Freemasonry became the University of Architecture, which in a free nation, many could access.
_I: Architecture, then, goes beyond making a building.
_AM: That's right... As Art, Architecture is the way to reconstruct the beauty that lives in the mind. Unlike sculpture, which uses materials to give living and naturalistic forms to its products, architecture aims to encompass the world, transferring mathematics and geometry directly to our tangible reality, so that we can inhabit it. Every time you see a window, a door, a corner, a corner, the ceiling, you are seeing the proportions of the universe in a tangible way, brought down by the human mind. The construction of spaces is an art that gives life to creation itself, but instead of making it an object of worship as in sculpture, it makes it a home for the living, allowing the individual to live within the cosmos, experience it, be part of it. practice of the work. Being able to live the divine body.
_I: It allows us to experience sacred geometry, light patterns, touch, experience the edges and vertices of the cosmic fabric.
_AM: The first structures were not homes, but sacred sites such as dolmens and menhirs, later giving rise to cromlechs, such as the famous Stonehenge. Beyond these Paleolithic and Neolithic constructions, ziggurats, temples and pyramids spread throughout the Middle East. Until the Greco-Romans incorporated classical architecture, which we know today for its three primary styles: Ionic, Doric and Corinthian (according to the shapes of the capitals in their columns).
_I: Does architecture also have a sacred trinity?
_AM: Yes. The Romans called it “Venustas, Firmitas and Utilitas” (Beauty, Firmness and Utility, respectively). The person in charge of outlining this sacred trinity was Marcus Vitruvius in the 1st century BC.
_I: Is it the one from the famous “Vitruvian Man” that Leonardo Da Vinci drew?
_AM: Exactly. Da Vinci designed this man in honor and function of Vitruvius' studies in architecture and engineering. However, his scientific and mathematical vision differ from the more symbolic applications of architecture, since he describes the technique, but not the modes. Architecture, of course, aims to be useful, practical, and in any case firm to last over time, as well as incorporating aesthetics, which gives life and soul to the construction. However, there are several other factors that differ from this simple logical observation. Architecture is flexible, adaptable, as it is modified depending on the space people inhabit, as well as the movement of life itself. Architecture is not only present in the generation of buildings, but in the manifestation of living spaces, which do not have to be firm or beautiful according to Greek and Latin canons. This lets us understand that architecture is about Space, and Void.
_I: Empty?
_AM: The Void is the possibility of Space. The mind uses the void as a fertile field for the design of living spaces. And therefore, to build yourself, you must find the void.
_I: Oh, the idea of going to the inner emptiness is to find the space on which I will build my life...
_AM: You are the architect of your own existence, and you can redesign your life, but to do so, you need to rethink your foundations. The pillars on which your existence is based. Understand what your beliefs are based on: the pillar of need, faith, passions, self-knowledge, love. On what basis do you stand? Discover the pillars, and think about whether you should rebuild it, perhaps adding all shapes to the structure.
_I: Redesign my home…
_AM: And to do this you must take emptiness, find that clean space from which to rebuild yourself.
_I: How to start?
_AM: Blank page. Make a map of your home, the one you have or want, or draw the plan of your house following the shape of your body on a sheet of paper, where the rooms are your organs. Design the connections, arrange the furniture, innovate the structures. Write the function of each space, add windows and doors to be able to exit, change the pillars and foundations of the place... And in a practical way, try to restructure your house or room. Change the bed or a piece of furniture, rotate something, make a change in your space, rearrange. This will move the energy, and you will notice the imminent change. You can also go beyond the plans and make a model of your home. Design, awaken the genius in you, and be inventive.
_I: Awaken the genius in me…
_AM: You are manifesting a home, design what it will be like, what you will do in it. Manifest it. Remember what we have talked about the first 5 days of the year in July and August 2020 about the 5 Solids that build reality. Use that knowledge to build your being. You are Architect of your own world.
_I: I recognize myself as the Architect of my own Being.
_AM: Find the emptiness in you, and design the beauty of your being, firm in yourself, discovering the usefulness of each part of your body and internal world.
_I: I am a builder of my own reality, an engineer of the soul...
_AM: You are the Vitruvian Man.