My story cannot be complete without my ‘French experience’. As mentioned in my journal, a few days after I met with Dr Khalil and Dr Fawzi and they talked about the origin of the scientific form of Radiesthesia (not to be confused with the popular psychic method of Dowsing), the Minister of Health sent me on an official assignment to Paris.
At the ‘Maison de la Radiesthésie’ I asked for scientific books on Radiesthesia, particularly the works of Chaumery and de Bélizal, Turenne, and Enel. I was told that the books were out of print and no longer available. I insisted and explained that I needed them for scientific research. The young man at the counter said, “Science will get you nowhere, Radiesthesia is a psychic practice; you must ask your subconscious with the pendulum.” An elderly lady sitting behind the counter stood up and asked me where I came from. When I said “Egypt,” she introduced herself as Madame Lambert and said, “We have been waiting for you. You have been in Paris for four days already, why didn’t you come earlier? A lady healer has been calling five times a day asking where is the Egyptian?” That healer was Jaqueline Debeaux, a well known herbal doctor, naturopath, radiesthesist, and clairvoyant healer, but most importantly she was to become a very dear and close friend.
Madame Lambert told me that her late husband Monsieur Lambert was a famous Radiesthesist of the mental psychic school, and that she had personally known Chaumery and de Bélizal as they were friends of her husband. She said that the tragic death of Chaumery marked the end to the era of those pioneers, and that of the scientific school was abandoned for the more popular psychic practice. Madame Lambert said that, if the Ancient Physics was to be revived, the person to do it must be an Egyptian, and as an architect versed in geometrical shapes I was destined to do that. She had her assistant bring a huge stack of old dust-covered books from the cellar, which she insisted that I take as a present because she believed that I would revive and develop the Physical School of Radiesthesia1 which was a legacy of Ancient Egypt.
During my architectural studies in Zurich, I acquired a special interest in theories of colors and shapes through the works of Muller2 and Goethe, in particular. What I found in the books of Radiesthesia did not fit in with any of these theories. However, I felt that there is something there, and this challenged my inquisitive nature. I started studying the books given to me with great fervor, and found that although the methodology worked fine, there were scientific explanations missing. I realized that the pendulum used in Radiesthesia work is not just a weight on a string, but a precise measuring tool related to a musical string (If we fix a string at one point and add a weight at the other end it will behave and resonate exactly like a musical string according to the laws of Harmonics) (Fig. 4).
I realized that string theories, in music and physics, played a major role in the science of Radiesthesia. I had spent part of my youth studying classical piano, at the Tigermann Music Conservatory in Cairo, and had some experience in the subject. I went back to explore theories of music and harmonics; this is where Pythagoras came in for me. I discovered the science of Ancient Harmonics through his work, and expanded my study from there on with the works of Hans Kayser, Hans Jenny and others. From the theory of harmonics, I managed to understand the whole concept of strings and developed my own scientific method of Physical Radiesthesia in BioGeometry. I then combined this work with my architecture studies and adapted this new tool of measurement to study the subtle energy criteria of historic monuments and locations. The combination of these new methods, with the theories of the science of Ancient Harmonics, where numbers are regarded as qualities, enabled the development of the science of ‘BioGeometry Harmonics’. In BioGeometry Harmonics, the balancing subtle energy quality produces a system of numbers, proportions and angles which play an important part in the design principles of BioGeometry, that we apply in architecture and all other forms of design. Before we go into the science of BioGeometry, I would like to introduce you to what we refer to in this book as the ‘One Harmonizing Subtle Energy Quality’ and its three components, the BG3 quality.
Scariatin, a Russian who lived in Egypt around 1940-1950, wrote several books under the pseudonym Enel, and developed instruments based on the Universal Pendulum of Chaumery and de Bélizal, which he used to detect the quality of energy components emanating from the tombs of Christian saints in Egypt. He wrote his first book on Radiesthesia: ‘Premiers Pas en Radiesthésie Thérapeutique’. The book was published in Cairo, Egypt, by Dar Al-Ma‘aref publishing house in 1949. By coincidence, or higher guidance, this is the same government owned publishing house that half a century later supported the cause of BioGeometry, and was making available the BioGeometry products through their chain of bookstores all over Egypt.
While he was researching the tombs of Egyptian Christian Saints, Enel found that they all emanated a certain quality of vibration within the range of what we call ‘Negative Green’. Negative Green is a carrier wave quality that has very strong communication properties on all subtle energy levels in nature, and is a doorway to other dimensions. Enel labeled this energy quality ‘Omega’. In the qualitative color scale of Radiesthesia, Omega is part of the Horizontal Negative Green range, in the gray area between white and black, opposite to the green. Enel concluded that the presence of this Omega energy indicated the presence of spiritual energy that reflected the spiritual attainment of the saints (Fig. 5).
Knowing that the tombs of those saints were within ancient church complexes that were usually built on sacred power spots in ancient times, I started checking if this energy quality was also present in all sacred places and subtle energy power spots in nature, regardless of whether they enclosed tombs of saints or not. I found that the Ancient Egyptian temples, with their sacred lakes, emanated a strong Horizontal Negative Green. This energy quality was strongest in the central and holiest chamber of the temple, and in the natural spring or sacred lake usually found in such locations. Old churches and mosques gave similar results, as attested to by several researchers and authors3. All the power spots that I tested around the world, whether they had old buildings on them or not, showed the same qualities. Horizontal Negative Green was then a good way of detecting power spots with this special beneficent energy quality, whether deemed sacred by humanity or not.
Enel’s work got me started on the search for the other components of spiritual energy because I realized that by reproducing only the Horizontal Negative Green energy quality geometrically, we were unable to reproduce the full spectrum of the spiritual quality found in sacred power spots. It took many years of research to discover the other two components. At the end, I found that they were so obvious and had been in front of my eyes all along.
The second of these components was an energy quality that we find at dawn: the Higher Harmonic of Ultraviolet. This is the realm where angels manifest and many spiritual rituals take place. The third component was even more obvious; and that was the ‘Higher Harmonic of Gold’. As an artist, I was aware of the symbolism of the golden halo or golden aura around the heads of saints as depicted in religious art in many cultures. However, it never occurred to me that with gold in my hand I could resonate with the spiritual subtle energy quality and detect it that way.
The ‘One Harmonizing Subtle Energy Quality’ was finally detectable through its three subtle energy components and so I labeled it ‘BG3’. Now at last, I was able to develop design principles that could resonate with and reproduce the harmonizing energy quality as found in beneficent power spots in nature.