The BioGeometry Design Language
Introduction
BioGeometry is the practical application of the new innovative breakthrough science of the Physics of Quality. It offers a design language that works on the quality of information exchange between living systems to bring harmony into the subtle energy quality of the environment. This method has proven its efficacy during thirty-five years of research projects all over the world. A significant shift in awareness of the subtle energy interactions in the environment by the academic community allowed this cutting edge science to be the subject of a number of postgraduate studies in several reputable universities in different disciplines: Architecture, Interior Design, Industrial Design and Environment.
The threat resulting from new forms of pollution, such as electromagnetic radiation, cannot be dealt with solely by the reduction of the power of the sources. The number of sources of what is believed to be individually weak and harmless emissions of EMR collectively and continuosly pose a very viable and dangerouse threat. In BioGeometry we strongly believe that all possible measures should be taken to save our Earth from the proliferation of all forms of pollution and offer a complimentary methodology that supports the environment and life on Earth.
BioGeometry & the Environment
Applied BioGeometry designs resonate with the environment to produce a harmonizing subtle energy quality, which superimposes a balancing energetic qualitative component. This method has proven its efficiency in reducing the harmful effect of environmental pollution on living systems. The harmonizing subtle energy quality of Biogeometry can impregnate any object. However in the case of living systems it also induces a special quality into the water content of the body that reduces the change that EMR produces in it. This harmonizing effect induces physical changes in water that have been detected by microscopic photography.
How BioGeometry Works
When applied, BioGeometry principles can be subtly implemented into the forming process of design without interfering with other factors or style of design. As it works mainly by harmonizing the quality of interaction of an object with the environment, it does not significantly affect any quantitative measurements of either. This is due to the fact that BioGeometry shapes work on the secondary wave patterns resulting from the main shape or motion in the environment. These waves are similar to those resulting from the motion of a boat in water; their effect can be felt at great distances on any object, and the shape of the object will also affect the waves transmitting back a resonant effect to the boat (Fig. 1).
The main shape creating the motion is not affected quantitatively in any significant way. The secondary waves form a background wave pattern that is the main carrier of quality in the environment. The secondary waves are of the compression longitudinal type (e.g. sound, scalar, torsion and eddies) even if the main motion is of electromagnetic nature. These are similar to sound waves on an inaudible level that are beyond the hearing range and as such are affected by the shape. In the science of Acoustics for example, we interact with sound waves through the use of shape (Fig. 2). In Aerodynamics and Hydraulics we also use shapes to deal with compression waves of air and water respectively (Fig. 3). All types of motion create such waves in the environment producing a background subtle energy pattern spanning the whole universe.
A person walking into a room will create such waves that affect the subtle energy qualities of the room and, through resonant interaction, transmit back the resulting quality of the surroundings to the person. The motion of a hand or even the blink of an eye will produce similar effects. All sensory interactions have the same effect on the sender as well as the receiver (Fig. 4).
BioGeometry shapes affect the quality of subtle energy in the environment just as shapes put in the flow of water affect the pattern of the flow. Any change of shape in the pattern of flow will produce qualitative effects on the resulting functions. The way that BioGeometry affects the subtle energy functions of the environment is expressed in a qualitative Trinity of: Energy-Shape-Function (Fig. 5).
According to this concept of the ‘BioGeometry Qualitative Trinity’, we use BioGeometry shapes that produce the BG3 quality to affect the background energy wave pattern and produce harmony in the subtle energy functions in the environment. To illustrate this threefold relationship in which shape forms the energy flow to produce the function, we can take cooking as an example. We will see that the shape of the cooking utensil (wok/frying pan…etc) shapes the flame giving a different kind of energy distribution in accordance to the function needed (Fig. 6).
Goals of BioGeometry Design Language
A. Introducing Harmony in the Environment
The Electromagnetic Radiation (EMR), which is a main feature of modern technology in the age of information, is adding to global warming. The production of electricity is polluting the atmosphere with gases that play a direct role in global warming. There is, however, another factor that is not given any importance at the moment; this is the direct warming effect produced by the motion of the microwaves themselves in the atmosphere, which might be very minute and insignificant at the moment, but with our ever-increasing use of EMR, it will become more significant. BioGeometry has been shown to reduce the infra red emanation of objects and could in future research play a role in the reduction of global warming.
Electromagnetic radiation (EMR) is the unperceived danger that with indefinite increase could lead to global life extinction. Electrosmog is a layman’s word that refers to the harmful effect of electromagnetic radiation on the environment. Electrosmog is composed of the primary effect of electromagnetic fields as well as another more widespread effect from the secondary non-electromagnetic compression waves spreading to greater distances through the environment (Fig. 7).
Only the first effect due to electromagnetic waves is measurable with electronic devices and is the one taken into consideration when imposing safe limits to protect the users. The other secondary effect is due to non-electromagnetic waves that cannot be detected by conventional devices measuring electric or magnetic radiation. Other types of devices must be used to detect or record the minute movements of compression waves in the environment. This is the main reason that the secondary effect is not acknowledged or taken into consideration by mainstream scientists. The amazing results achieved in the reduction of the harmful effects of electrosmog in the Swiss projects of Hemberg and Hirschberg are due to the fact that BioGeometry acknowledges and deals with these secondary background effects as well.
Another major problem that threatens life on our planet is the shortage of water and its deteriorating quality. Industry is continuously polluting rivers, lakes and oceans. Purifying chemicals are used to keep a quantitatively ‘safe level’ for human consumption not recognizing the pollution that they cause on the energy level as they deplete the water of its life energy. We are drinking dead water. Research has proven that using BioGeometry techniques is a very effective way of restoring the life energy in water.
B. New Evaluation System for Modern Technology, Arts & Architecture
One of the main goals of BioGeometry is the ‘Humanizing of Modern Technology’. We must assess the effect of all the products of modern technology on living energy systems in order to avoid self-destruction. In other words, we must consider the quality of the human energy system as part of any design criteria.
In BioGeometry, we provide an essential objective evaluation system for Architecture and Arts based on their degree of harmonizing effect on the living energy systems. Man in his totality, including all the subtle energy levels of his being, becomes the measure of all things. The level of BG3 subtle energy quality that the object produces in its environment is the scale of assessment of any object of industrial design and all types of art.
C. BioGeometry & ‘Green’
The awareness and practice of the ‘Green’ way, on an individual and collective level, is essential to save our planet. The original label of Green related to recycling of materials has evolved and now includes multiple aspects of environmental threats that are dealt with differently by different schools.
BioGeometry adds a new dimension to our current concepts of Green and emphasizes the complementarities between the different perspectives. It provides a methodology to transform the energy quality of natural or man-made materials to fit into the new paradigm of Green. In BioGeometry it is the effect of building on the subtle energy life systems of humans, animals and plants that determines the ‘Greenness’ of the project. The BG3 scale is an abstract evaluation system that determines the new level of Green, independent of any other criteria.
The Nine Pillars of
the BioGeometry Design Language
The following nine pillars from the BioGeometry (BG) Design Methodology provide the tools that can extend and enhance the existing design criteria in any field of design to induce natural harmony in the subtle energy quality of the surrounding environment.
1- BioGeometry Earth Energy Design
2- BioGeometry Sky-linked Design
3- BioGeometry Qualitative Harmonics
4- BioGeometry Design Principles
5- BioGeometry Motion in Design
6- BioGeometry Qualitative Global Scaling System
7- BioGeometry Archetypal Design Codes
8- BioGeometry Material Energy Quality Balancing
9- BioSignatures
BioGeometry is based on a Physics of Quality, the laws of ‘Qualitative Harmonics’, and a scientific system of BioGeometry measurements. In the first two pillars dealing with architecture and earth-related design, one needs to work in harmony with the earth energy patterns and in some cases achieve certain links with sky locations. This includes methods and tools to detect and assess the subtle energy quality effect of Earth Energy Power Spots and Earth Energy Grids on living systems. Earth energy grid surveys are usually delegated to specialists to be used as modular grids for the design. (There is a certain amount of expertise involved in the measurement of Earth Radiation. Several precautions need to be taken in order to avoid any harmful effects on the person doing the detection and measurements).
1) BioGeometry Earth Energy Design Principles
In architecture we use the material aspects of the building to form the qualities of the space within it and around it. Our space is part of the life energy system of the Earth, and in this sense includes energies on several levels. The Earth’s atmosphere is an integral part of its body. We actually live and build inside the body of the Earth and not on it as it may seem. The architect should then be viewed as the ‘sculptor of space’ and must in his forming process integrate his building into the subtle energy anatomy of the Earth on all levels.
There are different types of vertical and horizontal patterns of earth energy that form an invisible energy structure in the atmosphere above the ground. In BioGeometry we design in harmony with the Earth. These natural earth energy patterns are used as modular systems for the grids on which the axes are placed in architecture and town planning (Fig. 8). For this purpose, Ley lines, Hartmann and Curry ‘Global Earth Energy Grids’, the Benker Cube System and underground water paths, which are part of the subtle energy anatomy of the Earth, are mapped (Fig. 9).
These energy grids are used to connect the buildings with the Earth Energy System, so that the buildings ‘grow’ out of the ground and become part of the energy structure of the Earth and its atmosphere. The different types of subtle earth energy grids are the result of secondary longitudinal compression waves caused by the motion in the electromagnetic patterns of the earth. We can find a form of very minute electromagnetic ionization along the periphery of the Grid Line motion caused by friction.
In BioGeometry we look for Earth Energy Power Spots through the component energies of BG3. This is the quality, as we know, that is found in the geometric center of figures. In the case of Earth Power Spots this ‘One’ quality covers a certain area giving it the harmonizing quality that we refer to from a qualitative geometric view, as the ‘Centering Effect’, because it expands the subtle energy quality found within the illusive center to fill all parts of the object. BioGeometry designs are specially calculated to form their own harmonizing subtle energy qualities. They can therefore be applied to any type of design from a micro to a macro level, without the connection to a power spot. However, these objects when connected to other similar objects or power spots (on earth or sky) form an amplified harmonizing resonant pattern.
BioGeometry is the design language that produces shapes that induce harmony into the subtle energy quality of Earth Energy Grids and from there into the buildings. The buildings will then emphasize the subtle energy quality of a power spot, if found, or create their energy equivalent and utilize earth energy grids to bring harmony into the environment.
2) BioGeometry Sky-linked Design
The creation of a pattern of paths to connect power spots through Ley Lines, Spiritual Paths and Earth Energy Grids, is an ancient practice that goes back to prehistoric times when the first Menhirs and Dolmens were erected. In our BioGeometry research we were able to detect the location of BG3 Power Spots in certain areas of the sky. Once detected, these sky locations can be connected to the BG3 pattern on earth to form a three-dimensional grid. This type of Earth-Sky connection seems to have been practiced in the alignment of prehistoric megalithic monuments.
When this link is achieved the Earth-Sky connection empowers the natural earth power spots making them much stronger. The linking is achieved by resonance through the construction and orientation of certain parts of the building at the exact time of the beginning of a cycle when the star first appears over the horizon. Only the resonance achieved at these points of change in a cycle will sustain itself permanently. In the monuments of Ancient Egypt, the dimensions and orientation of resonant chambers, shafts, openings are usually designed to capture the energy quality of certain wavelengths that ensure the connection.
3) BioGeometry Qualitative Harmonics
BioGeometry Harmonics is a purely qualitative dimensioning system based on the harmonizing subtle energy quality found in earth energy power spots (BG3). It is based on the ‘Resonance of Quality’ that is expressed in numbers, ratios, angles and other forms; as such they can all enter into several types of resonant harmonic communication.
The Pythagorean Harmonics system shows the mathematical proportions of strings to produce musical notes as a manifestation of the laws of nature: Quality derived from Quantity. BioGeometry Harmonics in contrast, is Quantity derived from Quality, because it starts with the BG3 quality components of the geometrical center to detect numerical values that resonate with and manifest this quality. In Pythagorean Harmonics the numbers produce different qualities. In BioGeometry the spiritual harmonizing subtle energy quality takes numerical forms to manifest in the physical dimension.
A. Numerical Expressions of the ‘One Quality’ The Ancient Greeks spoke of architecture as “frozen music”, meaning that it is using all the harmonic proportions of music found in nature. Harmony in nature is the result of one Centering energy quality that manifests in an endless number of proportions. It manifests the transcendental divine laws that govern the archetypal forming process in nature. This quality plays a major role in sacred rituals, objects and buildings.
It is generally assumed that the Golden Proportion of 1:1.618 used in Sacred Geometry is the main proportion in the forming process of nature. This however, is not the case; this proportion expresses only one of the musical proportions used in Ancient Architecture. There is a hidden energy quality behind this proportion that is based on the subtle energy quality of the number 16, which manifests BG3. The number 16 is however only one of many numbers that manifest this quality.
Numbers are expressions of subtle energy qualities. No single number or proportion alone can produce the myriad of forms in nature. There is a single quality however, which does exactly that through its manifestations in the endless amount of numbers and proportions in the natural forming process. In BioGeometry we were able to identify this subtle energy that creates harmony and balance as the One Harmonizing Subtle Energy Quality (BG3). BioGeometry is the science of detecting, reproducing and applying this harmonizing subtle energy quality through a harmonic system of numbers and proportions. From a BioGeometry point of view, this level of architecture can be described as ‘Frozen Sacred Ritual’.
The science of BioGeometry is based on this quality that balances all other qualities in nature. In BioGeometry we have found through experimental subtle energy quality measurements that an endless sets of numbers manifest this BG3 harmonizing quality. Other numbers that do not manifest the BG3 energy quality can be formed to display it by arranging the geometric configuration of the number according to certain design principles. This is very similar to how different configurations of atoms produce different molecules. The BG numbers, however, manifest the BG3 energy quality in any configuration.
All BioGeometry Series are composed of numbers that in any configuration produce the BG3 subtle energy quality. The intensity of BG3 in these numbers undergoes cyclic variation due to cosmological influences. The following series shows the relatively stable numbers, there are however other series targeting specific applications. The first numbers of the BioGeometry Series that share the One Quality of BG3 are: 16, 19, 28, 34, 43, 54, 68, 72, 83, 89, 99…etc.
There is no quantitative mathematical correlation between these numbers; however, they all manifest the One Quality BG3. Some numbers manifest BG3 at certain times only and are thus not included in the basic BG3 Series. Notice, however, that the number sixteen is the first whole number of the series that manifests the BG3 quality. It occupies position ‘1’, in the BioGeometry series, physically and symbolically.
These numbers were used to produce a BioGeometry Harmonic System of numbers, proportions and angles that are used with certain design criteria to produce shapes that induce their inherent harmonizing quality in the environment. The BioGeometry Harmonic System and the forming principles can be applied in any field of design to synchronize the subtle energy quality of the environment into a natural harmony, whether the designed shape is a piece of jewelry, a house or an entire city. The harmonizing effect of BioGeometry designed objects can be measured and the effect on the subtle energy functions of the body can be assessed.
The BG Harmonic Tables of numbers, proportions, angles, arcs and shapes are dynamic. The basic unit in the table can be set to any dimension, resulting in a greater flexibility of use (Fig. 10).
The tables are designed to enable them to be modified dynamically to adapt to different uses. A base unit, which can incorporate an important dimension (e.g. an existing height of the ceiling in a building ) can be used as a function to which all the other dimensions are then related.
B. The Physics of Quality of Numbers and Angles
The Physics of Quality opens new doors to the measurement and understanding of the qualitative interactions in almost any field of life. Polarities, body postures, geometrical shapes, letters, words, materials and so on, all have a qualitative dimension through which we can have a deeper understanding of their inner workings.
a. Number of Objects:
The number of similar objects in a space will give a certain energy quality to that space. The number of similar columns, for example, will affect the subtle energy quality of the space. The same applies to identical repetitive architectural elements such as windows, columns, doors, or the number of seats in a conference area.
b. Placement:
The location of each object in a group of objects gives it a distinct subtle energy quality in addition to the one resulting from the total number which is shared by all objects in the group. For example: the space around each column will differ in the secondary energy quality, each seat in a conference hall will have a different energy quality. Similarly, each window in a group of similar windows will show the overall quality plus a secondary one based on its location in the group. The light coming through each window will carry slightly different secondary subtle energy qualities.
c. Dimensions:
The dimensions of objects play a role in affecting the subtle energy quality; they enter into proportional relationships with other objects.
d. Proportions:
The proportions of an object or that between different objects play an important role in the subtle energy quality.
e. Numbers and Biological Functions:
There are numerical combinations that are in resonance with biological functions that can be used in design for an added effect, they are not necessarily in the BG3 series. Each of the numbers in the BG series has its own resonance with biological functions and laws of nature, which gives each number in the series its own identity in addition to the fact that they all manifest the BG3 quality.
f. Angle of Rotation:
The angles of rotation within any type of design play an important role in the resulting subtle energy effect of the object on the surroundings. This also applies to the relationship between the angular components of shape.
g. Angle of Placement:
The angles of placement of objects in relation to other objects play a role on the overall subtle energy quality.
The BioGeometry Qualitative Harmonics System is applied to all the above numerical and angular criteria to achieve BG3 and induce harmony in the object and its environment.
4) BioGeometry Design Principles
The application of the BioGeometry Design principles creates awareness of a center of rotation or a central axis of the design. The Centering process is fully achieved when the BioGeometry Harmonic Proportions are applied together with the Design Principles to achieve the BG3 subtle energy quality.
A. Rotation
The principle of rotation (Fig. 11) is a method of activating a center in the design to create the BG3 quality. When the rotation is applied according to specific angles from the BioGeometry Harmonic System, the BG3 energy quality will fill the whole design creating the Centering effect that is the main criterion for the harmonizing effect in the environment. Rotation in both directions can be used, but the final effect should be clockwise and balanced. In special cases when interacting with some Earth Energy Power Spots or in certain rituals a counter-clockwise rotation is performed. This rotation in conjunction with a powerful special subtle energy emanation of the power spot connects to the spiritual doorway of the center.
B. BioGeometry Color Placement
A very special form of rotation is created through color placement (Fig. 12). Color samples are rotated at certain angles to the N-S direction and to each other to create virtual axes that produce the BG3 quality in the center of the room. The BG3 area around the center can then be spread to produce the Centering effect through fine-tuning by measurements. This fine tuning of the angles can be achieved through the use of the BioGeometry Harmonic Tables. This system of placement can be applied to any object where the shape enters into play.
C. Interfacing
One of the methods that allow form or shape to create a harmonizing energy is the principle of Interfaces (Fig. 13). An interface is the boundary between two things, where one goes into the other. We have two levels of boundaries: The first and simple boundary level is what you find whenever two surfaces of different materials meet in a straight line. These two surfaces have different energy qualities, so they create a boundary where we can find the subtle energy communicative quality (Negative Green) of a carrier wave.
The second level is when the boundary between the two materials is curved to form an interface. An interface usually creates an awareness of several interactive centers in the shape of the boundary. A double interface is even more potent as it creates two centers. By using the proportions and angles, or other components from the Qualitative Harmonic System of BioGeometry, we achieve the Centering quality where the BG3 spreads through the whole design.
D. Shifting
When planes are superimposed in a form of shifting (Fig. 14), they create an impression of a third dimension of depth on a two-dimensional plane, one or more central axes are created that produce the BG3 quality. This principle has played a major role in the Cultural Revolution that produced the school of Cubism in art (e.g. Picasso, Fig. 15) and the beginning of Modern Architecture (Fig. 16). Applying the BioGeometry Harmonic System to the shifting process produces the BG3 Centering effect.
E. Transparency
This is an advanced form of Shifting or Rotation that is used to form the grid on which a design was made and is then only evident in the background of the design (Fig. 17). It is a popular method of design in ancient and modern architecture as well (e.g. Frank Lloyd Wright, Le Corbusier, Mies van der Rohe). Sometimes the figure of a human being is used in a transparent way for the proportions of the grid as in the temple of Luxor (R.A. Schwaller de Lubicz, Temple of Man). Here archetypal principles inherent in the human proportions are at play (Fig. 18).
5) BioGeometry of Motion in Design
Everything in the universe is moving. All types of motion create an effect on their surrounding environment. This background effect is in the form of compression waves, which become part of a secondary background weave in which everything moves and exists. The relationship between the motion and what was thought to be empty space takes on a new dimension in BioGeometry. Instead of an empty space, we perceive a living sea in which everything has a place in a universal unity connected by a living information exchange.
A. The BioGeometry Energy Key
The BioGeometry Energy Key gives us a 2D/3D concept for the analysis of the qualitative effect of motion on its surroundings.
Any linear flow of energy produces four different energy qualities in its surroundings. The two-dimensional BioGeometry Energy Key (Fig. 19) is based on the actual shape produced by a moving stream of energy in water. The full three-dimensional shape of the BioGeometry Energy Key is like a Torus or doughnut shape with a wormhole at its center (Fig 20). The shape of a Torus around a linear motion is not new, but in BioGeometry it is used from a new qualitative point of view and not for its mathematical/ geometric properties.
The BioGeometry Energy Key is one of the main concepts that we have developed to analyze the path flow of energy and its influence on the surrounding space. In this key we have identified four different energy qualities generated by a linear flow similar to that of a river dividing land into two separate banks. The first quality (EQ1) is the energy received in front of the motion; the second (EQ2) is the one behind it where the energy is taken. To the right, we have the third quality (EQ3) of energy moving upward from the clockwise spiral, while the fourth quality (EQ4) to the left is a downward flow of energy. This applies to the northern earth hemisphere. We did not do any work in the southern hemisphere, but it could probably have the qualities inverted in accordance with the clockwise and counter-clockwise rotation.
In our energy quality assessment of an area or a site, we place the energy key in a space along the path of the main line of motion and check for the balance of the four qualities around it. To better illustrate this, if we examine the energy flow when the door to a room is placed to one side the Energy Key will show a compression of the secondary motion on that side resulting in an imbalance between the four qualities.
The flow has to be deflected so that the ‘key’ is repositioned in such a way that balances the four qualities (Fig. 21). Every flow of energy in space creates its own key: light and air through the window, a spotlight, an air-conditioning outlet, as well as the paths of circulation related to the placement of furniture or other objects. The result is a superposition of several Energy Keys that interact to create the final pattern affecting the energy quality of the space.
The three-dimensional BioGeometry Energy key also plays a major role in the forming process of the smallest particles of matter on a sub-atomic level. In most situations, there exists an infinite number of Energy Keys that cannot easily be balanced, but through the introduction of BG3 we can harmonize the different energy qualities involved.
The Energy Key also illustrates how any linear motion of any type will create secondary forms of motion rotating in opposite directions. These secondary motions are in the form of longitudinal compression waves, which are in essence similar to inaudible sound waves. BioGeometrical shapes are programmed through design to infuse the same Centering quality into this inaudible sound wave pattern. This is one of the main factors in the energy of shape. It is also a main concept in the understanding of the secondary effect of electromagnetic radiation on the environment.
B. The Memory of Lines
The direction of motion of the stroke in forming a line affects the energy quality of the line and its surroundings. This primary motion in the creation of the line and its subtle energy quality effects are imprinted on the memory of the line and are retained in any later configuration of that line. The angle of orientation of the line in relation to the earth’s magnetic coordinates also has an effect on the subtle energy quality, of the line and its surroundings.
A line carries encoded information from the first moment of its creation that it retains permanently even when it becomes part of a more complex shape. The point of origin of a line will always harmonically manifest the magnetic ultraviolet subtle energy quality while the end point will always manifest the magnetic infra-red quality. Just before the starting point of the line we get a BG3 point showing the true origin of the line (Fig. 22).
We will also find a BG3 flow along the straight line; however any curvature or dent in the line will cancel it. This explains the man-made straight paths traveling through the countryside, irrespective of topography, connecting Earth Energy Power Spots.
In application, we will find that a square drawn in one direction will exhibit different energy qualities if the stroke direction of the sides is changed. Therefore, two squares that seem to be a copy of each other can have different energy quality configurations; this also applies to all shapes. In other words, the direction of the work flow during the building of walls has an effect on the energy quality of the inner space and its outer surroundings.
C. Physics of Quality of Waves
The interaction between sound waves, in the audible range and beyond it throughout all vibratory ranges and shapes, is an established fact that finds its use in the design of musical instruments and concert halls. Shapes of objects have a forming effect on sound and can stop it, reflect it or give it additional qualities. Sound waves are longitudinal waves in contrast to the transversal waves of electromagnetic radiation. Other kinds of longitudinal waves, such as scalar or torsion waves, as well as waves resulting from eddy currents created by motion, are also affected and formed by shape. The use of shape in architecture to interact with certain compression wave frequencies can be found in many monuments of antiquity. Authors Paul Devreux and Dr. Konstantin Meyl (Fig. 23) have dealt with such phenomena from different perspectives. Devereaux speaks of sound frequencies, while Meyl researches the scalar waves, both of the longitudinal compression type.
BioGeometry assesses the effect of a wave on the subtle energy system of its surroundings as due to the quality of shape of that wave. The relationship of the amplitude (wave height) to the wavelength is the main factor determining the energy quality effect of that wave on its environment. One can also express it as in the form of the angle of intersection of the wave with its axis (Fig. 24).
All waves have several non-physical higher components such as those on the emotional, mental and spiritual levels, and also transcendental components in other dimensions. By shaping a wave on any level to achieve a proper proportion we can change the quality of its effect on the environment. The harmonizing effect of BioGeometry will achieve that on a higher dimension of the wave thus affecting its quality without any perceivable change on the physical configuration of the wave. This is why BioGeometry has been used effectively in areas of sophisticated technology such as airplanes and intensive care units in hospitals without having any quantitative physical effect on the instrumentation.
In the case of electrosmog, we find that there is a secondary very subtle harmful effect resulting from the harmonic resonance between all electromagnetic sources of radiation as well as the earth radiation grids, which produces a sort of a minute background echo, in which the third (EQ3/clockwise) and fourth (EQ4/counter-clockwise) qualities of the BioGeometry Energy Key play a major role. Swisscom, the main Swiss cellular provider, has publically supported this phenomenon that we were the first to discover and use successfully in reducing the effects of electrosmog on residents of two Swiss villages.
In all types of waves, transversal (electromagnetic) or longitudinal waves (sound, scalar, torsion), one can change the quality of effect on the environment by changing the shape of the wave, achieving the best harmonizing effect with the use of BG3 proportions. This can be done on the wave itself or on any of its subtle energy levels (Fig. 25).
D. Higher Dimensions of Waves
In the orthogonal model of waves, the two wave components move on two planes, electric and magnetic, perpendicular to each other. In BioGeometry we were able to detect other subtle energy planes, through their energy qualities, that are found between the electrical and magnetic planes. These planes are of the longitudinal (compression, torsion) wave type and are moving at much higher speeds than the speed of light of the electric and magnetic planes in which they are embedded. The middle plane, bisecting the perpendicular ones at 45 degrees, is the most important one as it has the BG3 One Harmonizing Energy Quality, but in this case it is in the form of two perpendicular spiritual planes. We will find the vitality, emotional and mental planes at both ends at different angles starting from the two physical, electric and magnetic planes towards the central spiritual plane (Fig. 26).
In physical objects, however, we find the planes within each other reflecting the periphery towards the center where the spiritual level is found, and also extending outside it towards a spiritual envelope outside the body of the object. In BioGeometry design we can achieve resonance with the different planes of nature through their specific angles or geometric shapes.
E. Geometry of The Planes
In BioGeometry we have identified certain geometrical shapes that are in a harmonic resonant relationship with the energy qualities of the different planes of nature (Fig. 27). These shapes can be used as archetypal concepts to be incorporated in the general design to ‘fine- tune’ the subtle energy quality of the building or shape of an object with the plane (or sub-plane) of nature related to the function.
Based on the above harmonic categorization of shapes, we have developed special pendulum devices and scepters to detect and interact with the different planes of nature (Fig. 28).
6) The BioGeometry Qualitative Scaling System
The BioGeometry Qualitative Scaling System is purely qualitative in the sense that it identifies the BG3 rings and points created by the design elements in their surroundings (Fig. 29).
All objects interact with the surrounding waves. As a metal pole in the form of an antenna tends to interact through resonance with electromagnetic wavelengths equal to its height (as well as harmonic proportions of it), so will a pole of any material interact with longitudinal waves (scalar, torsion …etc.) producing concentric rings of BG3 energy quality with a radius equal to its height and multiples of it. There will also be a secondary group of smaller concentric rings within the primary ones with radii multiples of the diameter of the pole (Fig. 29). If we take a cylinder, this concentric ring phenomenon will repeat itself around it and inside it. The study of the interaction between shapes and waves, especially the longitudinal ones, is an important factor in design, as the BG3 zones created within and around the objects can be used in the distribution of functions in the design from the subtle energy quality point of view (Fig. 30).
The use of Qualitative Scaling with the dimensioning of BioGeometry Harmonics stretches the BG3 energy quality to fill the whole area between the concentric BG3 circles. The same Centering effect happens within and around all shapes when BioGeometry Qualitative Scaling is combined with BG Harmonics to produce BG3 Qualitative Centering.
7) The BioGeometry Archetypal Design Codes
This is a very special field of design that was widely used in Ancient Egypt. It could change the whole concept of art and design and give it a new empowering role in all fields of life. Archetypes in this context are the laws of life on all its levels manifested as the subtle energy patterns that form energy templates, which support the physical shape energy functions of all living systems. The shapes of objects as we see them are therefore an expression of all the energy principles within them.
The Ancient Egyptians had deep knowledge of this archetypal dimension and used it to empower and harmonize the physical world. The stylized drawings, reliefs, sculptures and monuments had the function of bringing energy balance and harmony to all living systems (Fig. 31).
In our BioGeometry work we have done research in which resonance with the archetype was used to harmonize the human energy system and reduce environmental stress (Fig. 32). An archetypal grid with certain angles and proportions forms the pattern on which the designs are based. This grid is then superimposed on the natural Earth Energy Grids to form the design axes of buildings.
The archetypal 2D-code of the human body represents the complete multi-level pattern (physical, vitality, emotional, mental and spiritual) from which every aspect is manifested in the individualized physical form. We use geometric configurations of the subtle energy quality archetype of the human system in the form of measuring rulers to evaluate the energy quality on the different levels of the energy system (Fig. 32). In the illustration (Fig. 33) we see a BioGeometry Archetypal BG3 Ruler for the evaluation of the One subtle energy quality.
8) BioGeometry Material Energy Balancing
This is a methodology of changing the subtle energy quality of any material to manifest BG3 quality, thus introducing harmony in its environment. A very small sample of the material is placed in a geometrically polarized disk (Fig. 34) in such a way that the angular relationship between the sample and the polarization introduces BG3 into the material sample. Consequently, the balanced sample will, through resonance, correct the source material and infuse it with the BG3 harmonizing energy quality. In some cases we use a 3D spherical form of the Material Balancing Disc.
9) BioSignatures
(see The Process of BioSignatures)
BioSignatures are linear diagrams (Fig. 35) that are in resonance with the energy patterns of energy flow related to the shape of the internal body organs (just as the meridians of Chinese acupuncture relate to the overall shape of the body).
They are used to bring harmony into the subtle energy quality of the organ functions (Fig. 36). They work mainly in harmonizing the quality in the exchange of energy between the organs and the environment, and are therefore a form of environmental qualitative subtle energy balance. They balance the body’s organ energy functions and as such are a good support for all types of treatment. They are not in themselves a form of medical treatment.
BioSignatures can be used as patterns in all types of design and can be added to certain BioGeometry shapes (Fig. 37).
