I had trouble with calculus in college. The concept of mathematics describing geometric shapes just did not resonate in my brain. Yes, I knew the formula for the circumference of a circle, and some Pythagorean stuff about triangles, but I never realized it could all get so complicated. Over the course of the semester, the basic premise slowly penetrated, and I began to speculate that perhaps God is simply a great mathematician. Maybe all He really had to do to create the universe was to invent some formulas and everything then fell into place. Space, suns, planets, black holes, cosmic dust, vegetation, animals, humans, non-humans—all just tumbled out of his mind as he rapidly generated long strings of calculus formulas. While this is, of course, a fanciful view of the act of creation, there may be at least a germ of truth in the premise.
As we learn more and more about the concept of sacred geometry, it begins to appear that life really is all about numbers. The term “sacred geometry” has been bandied about for years as though it had a very specific meaning. But, in fact, it means different things to different people, and has really been an amorphous concept. Now that we are able to view the universe through powerful telescopes, and the minutiae of life through equally powerful microscopes, it has become apparent that the entire physical realm displays elegant geometric proportions. Awestruck, we are led to the conclusion that such orderliness can only be the product of a Divine Mind. Hence we view it as proof of creation as opposed to the disorderly and random Darwinian evolution. And so, the word “sacred” has been appended to this universal “geometry” to imply that it was all created by God.
Many researchers have attempted to define the subject. But for Charles Gilchrist, on his web site, “Sacred geometry is literally The architecture of the universe….Sacred geometry is pure universal truth springing directly from God Mind. Worlds turn in sacred geometry, and the galaxies spin because of it.” He goes on, “Studying the natural unfolding of the geometric archetypes aligns our human consciousness to the infinite and the eternal. In these studies and meditations we begin to see the way of things…the true nature of the universe.”
The Golden Ratio
Once, as scientists discovered the deep mathematical principles underlying all forms, they took it as proof of the workings of a great mind. In this regard, a breakthrough was the discovery of “the golden ratio.” This ratio, usually denoted by the Greek letter Ø (phi), expresses the relationship between two numbers where the sum of the two is to the larger, as the larger is to the smaller. That is, where “a” is the larger, “a+b” is to “a” as “a” is to “b.” Solving this equation algebraically, the only solution is the irrational number 1.618033989. Like pi, the decimal string goes on infinitely. Geometric forms conforming to, or incorporating, the golden ratio are abundant in nature. The number of petals on flowers conforms to the phi ratio, and it is the way the human body grows, finger to hand, hand to forearm. The golden ratio defines human beauty and consequently plastic surgeons use it for facial measurements. When applied architecturally it results in buildings that are strangely appealing to the human eye and to the spiritual imagination. To the ancient Greeks the golden section embodied philosophy and wisdom. Thus it was appropriate to incorporate the golden ratio in a building dedicated to a god. When the phi proportion is used to construct a triangular form it becomes a “golden triangle,” and a “golden spiral” gets wider by a factor of Ø every quarter-turn it makes, which means it gets wider by a factor of Ø (about 6.854) every full turn (see below). The nautilus seashell exemplifies a golden spiral.
In order to clear up the cloudiness around the term “sacred geometry,” and to better understand how it has been, and may be used in healing, inspiration, spiritual advancement, art, design, architecture, Feng Shui and crop circles, we decided it was necessary to consult an expert. Very impressed by his presentation at the recent Crop Circle Conference in Tempe, Arizona, and after experiencing a definite energetic influx while sitting under one of his unique, spinning metallic forms, we chose Gregory Hoag for our interview. Hoag is an artist, scientist and entrepreneur who has been working with form energy for over 30 years. For the past 15 years, he has lectured on Sacred Geometry on radio, TV and at conferences. His vision is to bring the archetypes of form to life for all to experience and benefit. He has been involved in various spiritual practices since the 1970s. It was in the ’70s that maverick New Age psuedo-scientist Patrick Flanagan discovered and became a proponent of “pyramid power,” which he promoted through books, lectures and seminars. Influenced by Flanagan’s research, Hoag began building pyramidal forms and sleeping in them. In 1982, he claims to have had “a very strong kundalini experience which was catalyzed by a large pyramid filled with crystals.” Subsequently he began to “see” energy patterns as they turned into geometric forms. He decided to try to build those forms out of various metals, and found that people reacted strongly to his creations, “both aesthetically and especially in an energetic sense. They said that they felt energy coming from the forms.” As a result, he started to manufacture the metallic objects which he calls “Metaforms.” In his literature he says, “They are precisely composed, 3-dimensional sculptures that radiate an energetic field which can positively influence your environment and help create a sacred space.” He says further, “the entire structure of the universe is based on the eternal laws of creation, which are mathematical and geometric in nature. Metaforms are designed to bring these archetypal laws into tangible experience in your life.”
In our conversation with Hoag, we found his definition and explanation of sacred geometry to be logical and enlightening. He says, “We are higher dimensional beings. Our souls are rooted at the causal level. All energy springs from that world. We have chosen to come down many levels into this dimension, this level of density…to learn and grow.” He explains further, “The universe wants to expand through us.” Consequently, it is necessary to “build a bridge, a conduit to the higher realms so that energy can flow into this dimension through us…giving us the opportunity for the highest, most rapid expansion.” As the higher energy flows from the source through each dimension, it wants to make each dimension like itself—to create resonance with itself. Each dimension has a language of its own that relates to the source. In the physical realm, that language is geometry. So sacred geometrical forms are those that directly incarnate and express the higher energies. Hoag elaborates on this concept eloquently on his web site, “There is a language that translates universally and is the true nature of ‘above,’ which reflects in the substance of this physical reality ‘below.’” That language is number, used by science to describe interactions in all realms of the physical and energetic universe. When number moves from the mental and theoretical into the physical it becomes pattern, rhythm, cycle and geometry. Thus, we see the language of God expressed everywhere in our universe. The Above is the archetype, the blueprint, so to speak.”
The Human Factor
While sacred geometry is apparent in nature without human intervention, humans have the power to consciously bring down the higher energies and deliberately impress these energies into matter. This capability was demonstrated dramatically by Japanese scientist Dr. Masaru Emoto in his now famous “water experiments.” He asked his subjects to deliberately imagine flasks of water to be impregnated with love, joy and peace. When this water was frozen, snowflakes were produced, each flake exhibiting a spark of free-will expression through a unique geometric design. He then asked another group of subjects to impress water with hate, anger and other negative emotions. This water produced no snowflakes when frozen—just blobs of ice. Hoag says that this demonstrates that “we can be a conduit for higher consciousness. In human beings, our own negative emotions block the flow of higher energy. Whereas, when things (human or otherwise) are connected to the higher dimension, they exhibit a pattern or a rhythm that reflects the order of the dimension of the source.” The fact that humans can actively channel and therefore have the ability to absorb these higher energies is what makes us potentially god-like.
With regard to architecture, Hoag says, “…particular energies are attracted to particular shapes. They are further reinforced into a coherent presence by that shape. Thus the energy is made palpable and available to the individual by using Sacred Geometry as an antenna to both attract resonant energies and to coalesce and reconfigure ambient energies.” Then further, “When we create our structures so that they reflect this pattern, there can be a resonance with, or a reflection of, the higher. Many ancient structures were built to mimic the pattern of the higher order, and thus people could experience that higher energy. That’s where the term ‘sacred geometry’ comes from. The more we mimic the divine order, the more sacred the form becomes.” Hoag claims that the Atlanteans understood this principle very well, and utilized it extensively. Some of this carried over to Greece and Egypt and other ancient civilizations. We now understand that the Great Pyramid focuses intense energy in the King’s Chamber. Some of these architectural principles became carefully guarded secrets in the Middle Ages, primarily by freemasons and the Guilds, and were used in the design of Gothic cathedrals. But Hoag says that modern civilization is spiraling downward into a place of separation. Modern architecture is based more upon human ego factors, and modern technology blocks the flow of higher energy.
Hoag’s view of the crop circles is unique. He claims that higher entities are constantly working to bring the higher energies down to this dimension to assist in the spiritual transformation of the human race. In order to accomplish this, the energies must be grounded in this three-dimensional world so that they may flow freely from the Causal to the physical. The crop circles are evidence of the intensification of this effort in recent times. The circles form geometric patterns on the earth resonating with the divine energies that are being grounded. They are attracted to that particular section of the English countryside because the vibrations of that area are compatible with the energies. So basically, the crop circles are simply by-products of the on-going process of the inculcation of higher energies needed to raise the consciousness of the planet. The beautiful designs are inspiring examples of sacred geometry, and hint at the beauty and power of their source at the causal level.
Metaforms and Pendants
Hoag’s basic purpose is to educate people about the deliberate, intelligent use of higher energies through understanding sacred geometry. He believes that this process is becoming more and more critical as we sink deeper and deeper into a chaotic energetic mire all over the planet, and it will be necessary to become proactive just to maintain the status quo, to say nothing of facilitating spiritual transformation. The metaforms can be a potent aid in holding and building the energy body. They are designed to be suspended overhead and spin slowly while meditating or simply sitting quietly. Hoag says, “They can create awareness and empower you in making appropriate choices. Their beauty and perfection can bring peace to your heart and mind. This positive amplification of safe, subtle energy can activate creativity, healing, dreaming, meditation, and relationships.” Popular, prolific New Age author Carolyn Myss says, “Metaforms are extraordinary tools which enhance health and inner awareness by working with subtle energies.”
But perhaps more potent as an agent for energetic renewal, some feel, are Hoag’s “e. pendants.” Designed to be worn around the neck, the pendants are fiberglass disks about the size of a large wrist watch. The fiberglass acts as an insulator to “antenna systems” consisting of metal sacred geometric designs bonded to both surfaces. The metal patterns are made of copper bonded to the disk, and plated with nickel, silver and gold. The outer ring is layered with 100 mils of gold, which is up to ten times the industry standard, over sterling silver. This combination is referred to as vermeil. Each surface is then adorned with embedded rubies, sapphires and emeralds based on the particular designs and the customizations requested by the client. Each side of the pendant has a different purpose. Hoag says, “Each face of the double-sided pendant has a distinct energy when pointed toward the body. Choose the Star Face for an active, external and higher mental experience. The Earth Face is more receptive, grounding and heart centered in nature.”
Hoag makes some extraordinary claims about the efficacy of the pendants. He says that they are “capable of transducing and focusing energy from the highest levels of consciousness.” He claims further, “most people feel the energy coursing through it and discover it to be unlike any other energetic tool that they have ever experienced …Changes in the body are immediately felt… the pendant has a balancing effect on whatever major chakra disturbance is happening in the person at that time. The pendant energy moves on further to begin opening areas of blockage, which…occurs simultaneously with soothing areas of stress. This is a tool of major transformation.” Wearers become “directly linked to the energies of creation, which may facilitate healing, balancing and higher consciousness. This is not another ‘feel good’ tool, but a channel of life force energy for physical and spiritual transformation. It enhances your ability to understand and manifest your soul.”
While these claims may be extravagant, to say the least, Hoag’s basic arguments still seem applicable to the times. Doubtless we have strayed far from the principles of harmony and beauty understood so well by the ancients. We have, it seems, embraced ugliness on a major scale. If Hoag is right, all this is a symptom of our disconnection with the divine energies and the principles of sacred geometry that brought us into existence.