In memoriam

Aritia D. Poenaru

Abstract

Into the frame of human life, a novelty architecture will be able to mediate the natural harmony between humanity and its cosmic roots, between nature and culture, content and form, respectively. By following the archetypal and modern learning too, the (visual) signs of light could be considered as the physical, biological, and psycho-social archetypes able to unify – not only symbolically, but ecologically and healthily too – the human life and its constructed framework. In this way, the hypotheses of a science of the ‘Living Light’, namely ‘BIOPHOTONICS’ (biology + theory / technology of lasers), will be able to rationally explain and scientifically recuperate – for the benefits of the modern architecture – the harmonizing features of the old ‘Sacred Geome­try’.

● Theoretically, the macro-cosmic world – inside whom the human ‘being of light’ is pulsating as an integrative micro-cosmos – represents the archetypal matrix of a modern ‘Architecture of Light’ – synergically connecting Nature (cosmic space ® structural materials ® biological body) and Culture (cosmic symbolism ® functional planning ® psychological human state). Inside this matrix, the symbols of a “Sacred Geometry” (ovoid, hour­glass, column and the grape, spirals, fractals and golden ratio, etc.) are determining a very complex semiosis, by: a) stimulating with energetic / beneficial effects (of the symbolizer / syntactic form) the level of human biological state of health; b) generating informational / positive effects (of the symbolized / semantic content) at the level of human psycho-logical state.

The authors were able to put pragmatically into evidence all these optimizing effects, by measuring them with some type of bioresonance devices.

● Practically, to prove that all the (visual) objects (architectural ones, in particular), are synergically stimulating the human well-being (health) – through the frequencies generated by the materials used, by their forms and volumes, colors and decorations etc. and, finally, by the telluric effects of the site – represents one of the amaz­ing paradigm of the research, already patented by the authors.

In synthesis, by connecting the analytical privileges of semiotics and of the visual arts / sciences, of biophotonics and bioresonance technology, the old heritage of sacred wisdom and the actual scientific knowledge will be no longer artificially separated. This is due to the New Vision of an integrative “ARCHITECTURE OF LIGHT” SEMIOTICS, to its competence and performance to rebuild the mind’s and body’s architectural space.

In conclusion, to (re)sacralize the architectural frame (semiosphere) of the human being – by the effects of a Sacred Geometry and all its complementary signs, by harmonizing the human life namely – is representing the main purpose of this research. In this way, as a relevant integrative example, the authors are semiotically pre­senting and interpreting the archetypal project of “ICTHUS” (Sacaramb, Romania).

Introductive thoughts

“The world as a cathedral…” (Alice Bailey): in this statement we see the intuitive synthesis of the following assertions:

― the essential forms of the world, naturally created or appeared through the cosmic geneses, define the content of so-called “Sacred Geometry”;

― light represents the unifying factor of the natural world (macro- and micro-forms) and the human technical-architectural forms, also.

― during human history, some essential (architectural) forms reproduced the principles of the cosmic archetypes, to generate the objects of a “Sacred Architecture of Light”.

The above-mentioned principles recall the Rig-Veda sentence: “So did (created) Gods (the cosmic world), so are the human beings doing (creating/projecting the buildings of the world).

The present paper is synthesizing – from a semiotic point of view – the very strong spiritual connection of the authors, expressed in different public contexts by theoretical and applied papers, such as:

Fig. 1:The cover-signs of authors' two complementary semiotic books: Semiotics of light (Stanciulescu 2003a) and Architecture of Light (Poenaru 2012, prize of Romanian Academy).

1. The genesis of the cosmic forms: turning back to archetypes

According to all the cosmogonic scenarios of the world, starting with those mythical-initial and religious ones and including those current philosophical and scientific ones, the birth of the world has assumed the emergence of the Light (space-order) out of the Darkness (chaos-disorder). From the integrative perspective of a model of theEssential Unity (cf. Stanciulescu 1990), having the light as a unifying element, it can be said that:

(1) Structuraly, light can be associated with the four archetypal cosmogonic principles: fire and air, water and earth, or in a scientific language with field and information, energy and substance. Light is a dual-complementary reality manifesting itself – in the same way as the photonic theory of energy-information (Constantinescu and Stanciulescu 1993), as:

― wave-vibration, defining the attributes of an integrating generic field;

― magnetic wave, predominantly characterized by an information (frequency, amplitude, spin) capable of “giving shape” to things;

― electric wave, defined by energy (intensity, substance, and vibration) in order to “put things in shape”;

― corpuscle-photon that gives consistency to the shape of the things, materializing itself through substance (mass, weight).

In the same direction as those above, we can entirely support Albert Einstein’s statement according to which “Everything is light, in different degrees of concentration”; or, in other words, light represents the first creative sign that the human being has symbolically identified with “Fiat Lux!”, the primordial uttered word, with the vibration of the creative sound aum or bhuvah, with Nada-Brahma music or with Shiva’s dance, etc., respectively with the Big-Bang of modern cosmogony.

(2) Functionally, for the cosmic world that has just exited chaos, the release of such a vibration-signal, implicitly, has also meant the activation of two dialectical laws of the “universal becoming”, namely (Stanciulescu 1998):

― The law of the entropic cycle that describes the evolution of every world system through the birth-maturation-death cycle. The Hegelian “unity of the strife between opposites” manifests its action in this becoming, in which the growth and the diminution, the evolution and the involution of the shape and of the content determine the appearance and the disappearance of the system itself.

― The law of the informational continuity that asserts that no system dies entirely as it transfers an essentialized information within a derived system, more or less the same as the first one.

It is enough to regard, from a three-dimensional perspective, the manifestation of the two laws, in order to detach from world architecture the omnipresence of four “essential forms”, namely (Stanciulescu 2003b): the ovoid, the hourglass, the column, the cluster (Fig. 2A-3).

Analogically, if we put the representations of some mythical models of Romanian and Oriental (Indian) cosmogony face to face, through their intuitive archetypes, on the one hand, and through their scientific representations, on the other hand, we will notice that, practically, there is not a difference in meaning between them (Stanciulescu 1995; Poenaru 2006). Historically speaking, the “essential forms” have been valued in countless types of cosmograms through which the genesis of the world has been symbolized. Therefore:

● The motif of the ovoid can be found in the Oriental (Indian) spirituality in archetypes such as: “the golden twins”, Hiranyia-Garbha, whose total plasma has given birth to the structure of space, the world as a “kalakhara chakra”, a wheel of the space-temporality that a section through the cosmic ovoid makes perfectly visible and intelligible, “the cosmic snake” (the sacred cobra, among Indians, whose original cross would have unfolded the whole universe structure) or which, thrown by the centrifugal force of the creative divinity, would have wrapped up like a “protective river” around the Earth (a planet modelled by hand by divinity like an ovoid, “little cake of clay”) and of the universe itself (the motif of the protective “Saturday water” among Romanians).

● The motif of the hourglass is implicitly suggested in cosmogonic models focusing on: the word as a “turtle”, among the Chinese and the Indians, whose superposed calotte could generate the image of a cosmic “hourglass”; the world as a “sacred mountain”, emerged from the original waters under the shape of two inverse pyramids, generating the “hourglass-model”, included in the infinite column of Constantin Brâncusi.

● The motif of the column is suggested in representations such as the world as a “fire column” or “water column”, like a “sacred tree” – the mythical “column of the sky”, described by the Indian and the Romanian traditions – emerged from the deep primordial waters, incorporating archetypal shapes such as: the ovoid of the crown and of the root united in an “hourglass” through the trunk-column continuity.

● The motif of the cluster, suggested by the existence of an “integrating complex” of systems/forms, is defined by archaic motifs such as “the world as a monster” (Purusha) of the Indians, or Tiamat (the Babylonians), whose sequences, chopped by the primordial hero (Arjuna or Marduk), would have shaped the sequences of the world: sky, earth, waters, etc., respectively the world as a “primordial giant” (like Panku, of the Chinese), whose “self-sacrifice” (decomposition) would have given birth to all the world components.

From a structural-integrating perspective, these morphological reference points of the world are mythically correlated with some archetypal elements of content. Thus:

a) The symbolic statement according to which “The universe is a horse” (or a “snake” that the Indian texts of Rig-Veda formulate) or that “The world is a table” (as in the tradition of the Romanian cosmogony) (Vulcanescu 1985: 158) suggests the implication of the symbolism of the four elements (fire, air, water, and earth) in the world construction. The Oriental cosmograms, like the Indian geometrical magical circles or the old Chinese coins, make the most of the intuition of the four elements integrated within the world in an admirable symbolic diversity.

b) The statement that “The universe is a tree” implies the same tetrahedral presence: “the root-funnel of the tree” planted in the “cosmic earth” (substance) and watered by the “water” (energy) accumulated in the funnel of a “black hole” has allowed the rising of “the cosmic trunk” in the “cosmic air” (the information of a vortex/tunnel column light), spread in “the air” of the cosmic sky (the light-field of the Great Universe).

In essence, the description of cosmogenesis as an endless continuity of implosive-explosive processes – being able to transform the cosmic dualities BHQ (Black-Hole & Quasar) in “seeds” that generate an endless number of cosmic worlds in succession or in a parallel coexistence (that fits the image of some “infinite columns” and “cosmic cluster”) – corresponds both to archaic intuitions and to recent astrophysical discoveries and theories.

Fig. 2: The modelling of the universe, from archaic intuition to scientific ration.

A. The laws of the creative becoming: (1) the law of the entropic cycle (“the ovoid” and “the hourglass” of the creative becoming; (2) the law of informational continuity(“the endless column” of the creative becoming); the image of the two laws has generously been synthesized in works like “The Infinite Column”, by the Romanian sculptor, Constantin Brâncusi, or in the verse of a genuine inspiration written by the poet Mihai Eminescu: “As all people are born to die and die to be born”; (3) the “essential forms” represented volumetrically and in a plan; B. An integrating cosmologic model: (1) galactic ellipsoid (galactom); the model of “a cosmic world that is in a throbbing expansion”; (2) the model of “the cluster universe”, suggesting the existence of an infinity of parallel spaces and times; (3) the computational model, similar as signification, of the “foamy universe”.

Consequently, having noticed the obvious analogy between the archaic and the scientific models regarding the evolution of the Big Universe and implicitly of our world, as one of its infinite worlds, a paradoxical remark is appropriate: a) practically, there are no limits to the manifestation of the archetypal forms that are co-present in quasi-identical shapes – in all times and places, unifying the micro- and the macro- space, nature and culture; b) what our forerunners have inferred about space – through experimental-holistic knowledge – has become a premise for the analytic-experimental statements of modern science.

2. The Essential Unity, a reflex of “Sacred Geometry”

The objective correspondence between the intuitive models of the sacred geometry and those proposed by the “Essential Unity” (Stanciulescu 2003a), model represents another path to close the distance between the connoisseurs of the initiative times and those of modern times. Based on this metaphysical (onto)genesis, the “sacred geometry” has explained the manifestation of the concise forms of the world, characterized by a series of objective properties, such as (Poenaru 2012: 45–59) offered in the following lines.

2.1. Geometric symmetry, beauty and stability

The sacred geometry emphasizes the fact that symmetry is a principle that ensures order in space, which gives it stability and harmony. Through the property of symmetry, the forms of the world become – in their turns – beautiful and stable. The research of this structural property can be realized mathematically (through numeric and geometric criteria). Therefore, like the geometricians of ancient Greece have shown, all the structures of the natural, physical and biological (vegetal, animal and human) world can subordinate themselves to some rules of numeric modelling, on the one hand, and to some correlations with the angular or circular geometric forms, on the other hand.

The condition of conservation of the “connection energy-information” – that imposes an optimum correlation of the human being with the particularities of the environment in which he lives, a natural (the geographic frame, the view, the site) and artificial (the architecture, the set of utilitarian objects, etc.) environment – is permanently present in human life, implicitly accomplishing itself through the (re)cognition and the creative development of the ideal forms (Schneider 1994: Fig. 3B).

2.2. The spiral, light in movement

The spiral is the result of a dynamic informational-energetic cause, more or less known. Mathematically, the sizes (relations) that generate a logarithmic spiral have as a correspondent the so-called “law of organic growths”, described by Fibonnacci's array: 1, 1, 2, 3, 5, 8, 13, 21… This assumes that “every term of the logarithmic series can be found out by adding two consecutive terms, and the relation between two consecutive terms is close to the value of the «golden number» according as the number of terms of the array grows” (Ghyka 1981: 53).

This feature of living and non-living material developing through compositions that gather successively has been checked by (astro)physicians, geologists, botanists and zoologists. The last ones, for example, have measured the distances between the knots where the leaves grow etc., or they have observed that the shape of the snails and oysters’ shells, of the animals’ horns or of the big bones corresponds to the law of organic growth. It has thus been proven that the living and non-living material keeps an archetypal shape when growing, the logarithmic spiral, which evolves through a constant maintenance of its proportions. The manifestation of these proportions and implicitly of the law of organic growth can be found in all the evolved forms of the world, in this way giving credit to Pythagoras” statement: Mundum regunt numeri.

It is enough to regard these forms to understand that the spiral defines a functional track that is present both at a micro- and macro-cosmic scale, being able to describe the essential forms, from ovoid to column and cluster, which, directly or indirectly, human technology (architectural implicitly) has been capable of reproducing and developing (Fig. 3C).

2.3. The golden section: an expression of the harmonious light

Among the algorithms that the light has followed in the process of generating its forms, the one dictated by the law of the golden number has a special signification, mentioning that: “So that a whole, divided in two unequal parts, should look nice from the point of view of the shape, we must have the same relation between the small part and the big part as we have between the big part and the whole” (Ghyka 1981: 259). This section aurea (Fig. 3 D) has a universal value because it can be found implied in the fundamental forms of the living and non-living world, making the subject of interest to the exact sciences, of mathematics, first of all. Its intuitive expression stands as a proof, an expression translated both in terms of plane geometry and solid geometry, known from Plato and Aristotle.

Proving with the arguments of an original (bio)photonic theory of the energy-information, that shape is a form of field, a result of the actions of the fields (electromagnetic, firstly, but also gravitational, geomagnetic, etc.) on the biological (and physical) material – we can state the fact, having both theoretical and practical value, that the light-field (information-energy) is responsible for the generation of the essential forms and of their geometry results from onto-logical aspects that modern physics has been able to describe in analytical models, such as (Fig. 3E):

● the volumetric unfolding of a light wave generates the “column of columns”, the integrating “flower of life”, the cluster universe;

● the matrices of the “sacred geometry” – triangle, square, pentagon etc. – represent archetypes that the intersections of the adulatory networks of the universe implicitly assume;

● the relation between the spiral and the golden proportion can be found in the properties of the electromagnetic spectrum.

Consequently, we can state that the essential forms of the world are the effects of the oscillations of light. Such forms of light have been translated by the human eye that has learned how to discover them and to re-create them in cosmograms, geometric models of space itself. Simultaneously, passing “from light to enlightenment”, humanity has learned to generate creative products of an amazing harmony, among which those of architecture are foremost here.

Fig. 3: Representations of the “Sacred Geometry”.

A. The genesis of the archetypal forms, from the “Originary Points” (1, 2), “Circle” (3) & “Vesica Piscis” (4, 5) to the “Flower of Life” (6); B. Some examples of the subordination of the symmetric forms to some geometric figures: (1) triangle vs. insect; (2) square vs. tungsten atom; (3) pentagon vs. cat and man; (4) hexagon vs. snow flake; (5) a frozen drop of “structured water” (by a “thank you” invocation (cf. Emoto 2001); C. The spiral, from physical phenomena to biological ones: (1; 2) macro-cosmos (galaxy) and whirpool; (3, 4) micro-cosmos (Nautilus) and univalve shell; (5) the vortex of a nettle (Schneider 1994); D. The “golden section”: (1) the section’s construction; (2) Platon’s perfect volumes [www.geometrycode.com]; E. Models of the light matrices: (1) three-dimensional electromagnetic wave (http://www.who.int/entity/mediacentre); (2) the 3D model of the cosmic network (Tiller) (cf. Dubro, Lapierre 2002); (3) the “golden spiral model” of the electromagnetic spectrum frequencies (Stanciulescu and Manu 2002).

3. The postulates of the “Architecture of Light”

Passing from the “world’s architecture” to the “architecture’s world” has assumed a natural process of reflection/transfer of the cosmic archetypes into the area of human existence, a process accompanied by two effects generating “well being”, namely:

― the balancing of the human bio-psychical state, through human experiential-holistic resonance with the harmony of the essential forms, with their structure and proportion, being able to optimize, through the resonance of the “form waves” the state of the biological human system, modelled by the same universal principles;

― the harmonisation of the human spiritual-cognitive state, through a permanent (re)actualization of the intuitive learning regarding the genesis of the world itself, to generate effects of cognitive therapy.

These two categories of effects have implicitly succeeded in offering intrinsic health-optimizing properties to our ancestors” life style – starting from dwellings to common utilitarian objects (household objects, clothes etc.).

Taking into consideration the benefits mentioned above, the postulates of the “Architecture of Light” (Poenaru 2004) should be explicitly recognized and practically valued by all the architects of our time, by using the virtues of the integrating science of the “Living Light” that is biophotonics.

An interdisciplinary science discovered at the end of the last millennium by professor Fritz-Albert Popp and his team (1989), biophotonics has as its subject the processes of generating, storing and releasing (bio)photons, under the form of an “ultraweak luminescence”, by all living systems (vegetal, animal, human). While German researchers have observed in laboratory conditions that these emissions have the properties of a laser type light , without explaining the phenomenon in detail, a laborious Romanian research has led to an explicative theory regarding the nature of this bioluminescence (aura emission), symbolically named the “Biological Lasers” Theory [BLT] (Stanciulescu and Manu 2002), and implicitly the (bio)Photonic Theory of Energy-Information [BTEI] (Constantinescu and Stanciulescu 1993), explaining the EM waves interaction among bio-physical systems, both theories defining a real “core” of biophotonics.

An applicative synthesis of all these emergent theories is represented by Exogenous Homeopathy (Stanciulescu 2011), proving that every external system can influence the human health by a holographic resonance. By virtue of these premises, the interaction between the human organism and the stimulating reference points of the architectural object (and not only) can be explained in terms of biophotonic technology, as demonstrated Aritia D. Poenaru – in her postface (2011) in ExHo book – showing that:

1. The effect of the EM radiations of the geographical area and of the Hartman telluric network where the building is placed, doubled by the effect of the “form waves” generated by the landscape, is reflected directly in the health state of the human body. Architecturally, this state can be optimized through Feng-Shui strategies, focusing on the correct placing of the dwelling in relation to the cardinal points, with water, forest, through the energetic practices of geomancy, focusing on the placing of some pyramid type “volumes/sacred forms” or some protective “cosmograms” in the building area, these volumes having variable dimensions and made from different materials, capable of cancelling the effect of some harmful, natural or technological radiations, etc.

2. The item of architecture can influence the harmony of the physical, psychical and spiritual state, through the correct utilization of the colors, of the information on the “form waves” generated by the buildings’ volumetry and the planimetry, the energy-informational waves of the natural or artificial used materials, by the system of construction, etc. Hence, taking into consideration the necessities of the beneficiary, we can choose those properties of the architectural whole – from the symbols of the “sacred geometry” used in different decorative variants to the constructive materials – whose synergy acts through their vibration power both at the body level and at the psychical level.

3. The utilitarian objects present at the dwelling level, starting from houses to the healthy furniture and textile products etc., can bring their contribution to the conservation of the “connection energy”, and implicitly to the optimization of human health (Poenaru and Stǎnciulescu 2014).

This is exactly the idea on which the project “Ecosane Architecture” is based, focusing on building some ecological-healthy constructions, under advantageous economic conditions, for a wider range of beneficiaries. The benefits of such an architecture should explicitly be practically recovered by the architects of our time, for the benefit of harmony that the antique people have simply called mimesis & catharsis, purified through imitation and signification, namely Nature & Culture, connected by the harmony of our buildings.

4. Instead of conclusions: «ICHTHUS», an integrating cosmogram

This sketchy presentation of a project of “Sacred Architecture” as well as of Eco-Sane architecture stands instead of the conclusions of this work. Suggestively bearing the Greek name of the Christian symbol of «ICHTUS» (International Complex for Human Therapy and Unity of Spirit) Săcărâmb/Romania, the project aims to accomplish (Poenaru 2004; 2010):

― a synergetic view on the relationship between modern humanity and a sacred cosmic-geographic (landscape) space, where a centre of spiritual initiation of the ancient Thracian-Geto-Dacians was placed three millennia ago;

― the construction of a modern architectural ensemble, assuming: (1) a hotel complex functioning as a leisure centre and as a centre of bio-psychic optimization; (2) a sanatorium of complementary therapies;

― a meditation centre, trans-spiritually conceived in relation with the world religions, an ensemble which, through its structure and functions, focuses on body harmony, with the human soul and the spirit.

In essence, the main purpose of «ICHTUS» Săcărâmb (Poenaru, 2012) is to initiate the travelers into the mysteries of cosmic genesis and of the archetypal history of humankind, by walking only among the architectonic objects and by interpreting them in a symbolical way.

Fig. 5: The Spiritual Center of «ICHTUS»: an archetypal cosmogony.

A. Two “cosmograms”: (1) the human archetypal embryo (Paris, 4 Match 2003); (2) the analogy of the embryo with the general plane of ICHTHUS; B. A general presentation of the Spiritual Center: (1) the plane: a telluric projection of the Cosmic Tree; (2) a frontal view of the “Road of Light”: an initiatory travel/pilgrimage; C.Architectural elements: (1) The “Flower of Life” generated from the “originary waters”; (2) The “Gate of Space”; D. The ICHTUS “temples”: (1) The “Temple of Time”; (2) The “Temple of the Archetypal Initiation”.

Hermeneutically interpreted, the «ICHTUS» project takes the form of:

(a) an integrating cosmogram, which – from a functional point of view – correlates the three architectonic objectives so that it should represent the image projected in the landscape of a symbolic human foetus, coupling the shape of the ovoid with those of the hourglass and of the column, uniting the principle of fire (light-sky) with air (the mountain ozone), with water (the dam) and earth (the ground of the building);

(b) a series of specific cosmograms characterizing – from a structural point of view – the built shapes (volumes and planes); e.g., the centre of the “universal spirituality”, placed exactly on the old sanctuary, recovers the image of an Oriental magical circle, in which an equilateral triangle circumscribes/inscribes in section within a circle and a square, and which, on a plane, generates figures of the “sacred geometry”, such as vesica piscis, the “flower of life”, etc.

Consequently, we could appreciate that «ICHTUS» is symbolically representing – using the architectural language – the essential stages of the cosmogenesis. Learning about the cosmic becoming, by walking among the «ICHTUS» architectural cosmograms, the pilgrim has the privilege to understand some of the following principles: “Know yourself and you will know the Universe”, a Creative Light Matrix (an EM field supporting cosmic forms) is determining the genesis of the cosmic structures, the “original waters” (the «ICHTUS» lake) represents as a mythical “cosmic tree”, the first creative vibration of light  (“Fiat Lux”/“Big-Bang”) is generating an archetypal matrix of the cosmic forms of light, the genesis of the four cosmic elements is defining the structure of the cosmic world such as:

― ontologically. starting from invisible (field) to visible (substance);

― gnoseologically,  understood by human being starting from visible to invisible;

― (pr)axiologically, according the principle of “esthetical pleasure”, namely: the (architectural) “beauty” is what we (subjectively) like, because we bio-psychically need it.

So, such type of “Architecture of Light”, which the ICHTUS is implicitly using, will recuperate the two functions of the sacred and laic architecture of the old times, namely:

● to be a “learning book”, able to keep in its “pages” the archetypal forms of  the cosmogenesis;

● to represent a harmonizing frame of life, by its emissions of  “light” (colours, forms, volumes waves, etc.), biophotonically resonating with human body/soul/mind complex.

That is why the «ICHTUS» SǍCǍRÂMB (Romania), could become a symbolic pilgrimage place, able to realize the symbolical architectural connection between the archetypal times and the modern ones.

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