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Table of Contents Lesson 1 - Introduction Lesson 2A - Notes, About the Shilpins, Theory of Vastu Science Lesson 2B - Mayan, the

Vastu vijnani and originator of Vaastu tradition Lesson 2C - Theory - The Elements Lesson 3 - Philosophical Foundations Lesson 4 - Mayan - The Vaastu Tradition Lesson 5 - Ancient Origins of Vaastu Science, continued Lesson 6 - Mahabalipuram Filming Text Lesson 7 - The Science of Manifestation Lesson 8 - Vaastu Purusha Mandala Lesson 9 - Spatial Measures Lesson 10 - Orientation of Buildings and Cities Lesson 11 - The Eight Directions Lesson 12 - Selection of a Building Site Lesson 13 - Trees and Plants Around the Building Lesson 14A - Vastu Design Process - Part I Lesson 14B - Vastu Design Process - Part II

Introduction
In 1998 and 1999 I traveled to Madras, India, to study the principles of Vastu Science as applied to Vedic Architecture. Through my work and research, I had become aware of this tradition of sacred Architecture which employed basic principles of the laws of nature to promote the health and happiness of the people who lived these special buildings. In previous years, I had been commissioned to design two buildings that conformed to what my clients called Sthapatya Vedic Architecture. They requested that I work directly under the guidance of a designer in Europe. I was directed by this designer to create a floor plan and elevation following certain basic principles of room placement and then send it to him for review. The process of design and review went on for several weeks until we had arrived at a building that conformed to the room placements and included very precise, if odd, numbered dimensions for the plan and elevations. I was instructed to insist that the dimensions be held with integrity as the building was erected, down to the 1/8th of an inch. I was very interested in understanding the principles of design and the philosophy behind the design and I requested more information from the Sthapatya Vedic expert. To my great disappointment, he communicated to me that he wasnt at liberty to convey the information that I wanted. I began a search for information about Sthapatya Vedic Architecture. I found that there were several volumes of ancient Indian literature, as well as modern, dedicated to the subject. When I surveyed the books I found them quite confusing. I realized that I needed to find a teacher. I attended a weekend seminar on the subject given by a designer from India, but again, the actual nuts and bolts information was not made available. Finally, I found an architect in India who was supposed to be an expert of the tradition of knowledge. I had attended a performance of Indian sacred dance one evening and in the introduction to the performance the dancer told us that she had danced at a conference on Sthapatya Vedic Architecture in Southern India. After the performance, I asked the dancer if she could recommend me to an expert architect in the tradition. She eagerly gave me the name of Dr. V. Ganapati Sthapati of Madras, India. I called the Sthapati (meaning: expert sculptor and building designer) the next day and he told me that he was building a temple in the Midwest and would be visiting the site within a week. I made arrangements to meet with him when he came to the USA.

Ganapati Sthapati
Ganapati Sthapati was born in 1927 into a family whose ancestors built the great temple at Tanjore in the 10th century. He learned his craft from his father and uncle. Starting out as a sculptors apprentice, growing to become a master sculptor and a temple designer. He spent 27 years as head of the Government College of Architecture and Sculpture in Mahabalipuram, Tamil Nadu. He is responsible for Indias significant resurgence in the ancient art of stone carving. After his retirement in 1988, he continued building temples and founded the Vastu Vedic Research Foundation to explore the ancient origins of temple craftsmen. As I was ushered into meet Sthapati I noticed that the Indian workers that were building the temple treated the man with utmost respect. Our interview lasted about one hour. I showed him my house designs and he chuckled as he critiqued them. He said that architecture was frozen music and that a building could be an expression of pleasant and powerful harmonies. He made sketches on my drawings, mentioning something called a "Vastu Purusha Mandala". He spoke of the possibility of a building being a coherence generator, tuning the occupants to the laws of the universe and increasing health, wealth and spiritual well being. He said that a building was a living organism, like the human nervous system, and could be designed in "harmonic

resonance" with the basic underlying energy structure of the universe. But more than his words, his presence, his confidence, his enthusiasm and love of his art, told me that he was a man who lived his Truth. At the end of our meeting I asked him if I could come to India and study with him, he seemed a bit surprised actually, but he welcomed me to come.

Historic Context
Ganapati Sthapati holds that the historical figure, Mayan, an architect and town planner of ancient India was the source of "Vastu Science". He was the author of Mayamata Vastu Shastra (a treatise on building and architecture) and also Surya Siddhanta (a treatise on Astronomy). These works are still alive and being used by scholars and practitioners all over India. Sthapati told me that Mayan was adored as "Viswakarma" by Veda Vyasa in his Mahabharata (one of Indias most renowned scriptures), implying thereby that Mayan was aware of the dynamics of SPACE and was able to apply the space-mechanics to his own creations and transform them into little universes on the Earth. Whatever he was able to create in visual terms, be it a sculpture, building or a town or city layout, they behaved like living organisms and pulsated with life. He was a great scientist of India who identified and quantified the vibrancy of the space enveloping the Earth and the heavenly bodies and also dwelling in each of the objects of nature.

Vastu Purusha Mandala


The plan of the layout of a temple or a residential building is technically called Vastu Purusha Mandala with a grid of 8 x 8 = 64 spaces or 9 x 9 = 81 spaces of equal dimensions. In modern architectural terminology this can be addressed as an energy grid. These layouts are squares, two dimensionally, and cubes, tridimensionally. Those two layouts are the geometrical formulae for the shilpi (sculptor or architect) to replicate the subtle substance of the universe into visual material form. This is the formula handled by God Viswarkarma, the creator of the universe, to turn his own thoughts into material forms. This formula is couched in a simplistic saying: Vastu reva Vaastu meaning it is subtle that turns into gross. Here Vastu is subtle energy and Vaastu is embodied energy. This was discovered and put into the Vaastu texts by Mayan. In Sthapati's words: "What is amazing to be remembered in this context is that they (forms produced by the application of Vaastu Science) are the forms (geometrical patterns) of the Spirit, reproduced in its own time-scale. They are the replicas of the subtle forms experienced at heart. They are living organisms that resonate with the Supreme Reality." There are many factors at work in the creation of a building aligned with principles of Vastu Science. There are ancient texts with thousands of pages that dictate in detail the design necessities of buildings in general as well as specifics. For example in one text, the Mayamata, some of the chapter headings are as follows:

Dwelling sites, Examination of the Site, Taking possession of the Site, System of measurements, Orientation, Offerings, Towns, Number of Stories and the Dimensions, The Foundation Deposit, The Base, Dimensions of Pillars and Choice of Materials, Entablature, Joinery. My experience was that to digest, assimilate and apply the information in these texts was a discouraging chore. I began studies with Ganapati Sthapati hoping that he would act as and interpreter and filter of the knowledge for me and this he did. I came away from my studies with a balanced and applicable body of knowledge.

General Principles
The design regime for the Vastu architect follows specific parameters: 1. 2. 3. 4. 5. 6. 7. Orientation and siting considerations Building Layout with regard to a grid called "Vastu Purusha Mandala" Dimensioning with regard to the clients birth time Exterior door locations Brahmastan Room Placement Height

Vaastu Purusha
The selection of a building site is a very important factor in Vastu Architecture. The Earth is considered a living organism in Vastu Science. Sthapati says, "The Vastu Shastras address this energy contained in the Earth as Vaastu Purusha. Purusha means subtle energy that permeates the Earth and Vaastu is the material body that evolved out of the energy... In abstraction, Purusha is but a subtle substance: Vastu (or essence of the subtle universe) which means universal consciousness or awareness. Earth is...a live material object suspended in (a sea) of space and existing as apart ... of the Universal Being. "

Site Slope
The general slope the site is very important. Sloping down to the East, North East or North is considered to be beneficial with the opposite having negative effects for the occupants of the structure. From my research, this seems to have something to do with the flow of water over and under the site. Also, the position of water on the site or in relationship to the site is considered: Northeast being the best location for a body of water. Fencing a plot with acceptable proportions is also important. It is because when vast land is limited by boundary lines it takes a form. That is, formless takes a form.

Energy Grid
Of utmost importance is the orientation of the structure with respect to the cardinal points of the compass. According to Vastu Science, a network of energy lines covers the globe of the Earth: an energy grid. These lines are very similar to what we know as the longitude and latitude lines. The lines are conduits by which the energy concentrated at the center of the vital Earth flows out and spreads over the Earth. They are also lines of absorption of solar, lunar and stellar energies. The Earth pulsates with life and rays its energy through this grid system. Vastu Science relates that all planets are suspended or soaked in the ocean of space, which is the source of energy that sustains all embodied energies including man and other animate beings that live on the Earth. The concept of the energy grid has been the ruling element of Vastu science in the domain of traditional designs pertaining to Indian architecture. The building plan is laid out with respect to an energy grid called the "Vastu Purusha Mandala". One typical grid is 9 x 9, but there are many other traditional grid forms consisting of odd and even numbers. This grid can be made of squares or rectangles. When the grid plan of the structure is oriented to the cardinal points of the compass it is said to lie exactly over the earthly energy grid. (Establishing of the building grid in exact relationship to the cardinal points of the compass applies to temples. For secular structures it is best to rotate the structure about one degree to the north of true East.) Once the designer establishes the grid, he can lay out the walls and pillars of the building on this pattern. Sthapati says, "This establishes a kind of geometric congruency or harmony with the earthly grid. If the structures grid is in harmony with the Earths grid, then the built space and the Earth respond harmoniously energetically. If there is any distortion, deviation or deflection in the grid lines of the proposed building grid and that of the Earths grid, then the built space is said to be in disharmony with the Earths

energy grid system." Vastu science holds that we are wedded to the Earth and constantly exposed to the energy fuming out of it. To be in harmony with this energy is the goal. Again Sthapati: "Just as we, human beings, harbor in our heart an atom of Divine energy by which we are able to vibrate with life...the Earth also vibrates from within sending forth energy waves." The Vastu designer brings about harmony between the vibrations by implementing particular a mathematical order called Ayadi.

Ayadi
The knowledge of Ayadi is used by the designer to determine the effects of the physical structure on the individual. The homeowner is born under the influence of a particular birth star. The building is considered to be a living being and also has a birth star. Ayadi calculations attempt to harmonize the energies created by the influence of the birth star of the person and that of the building. When these energies are harmonized the dweller experiences material prosperity and spiritual well being. Ayadi is also said to be able to effect the fate of the individual.

The Brahmastan
Another significant element in a Vastu residence is the Brahamastan or central courtyard. In a grid of 9 x 9 it is the center nine units. It is the energy heart of the house. It is the lung of the house. This part of the house should always be left open and free of obstructing elements (pillars or walls) and mechanical services. It is best if this portion, at least, is directly in contact with the Earth. It is traditional, where climate permits, to leave the Brahmastan open to the sky so that the energetic space surrounding the Earth is attracted into the house. This provides the inmates of the house with beneficial spiritual energy. When there is a roof over the Brahmastan then there should be a natural light source, a skylight or cupola with windows, at the roof. Also, if possible, a small vertical passage can be provided at the apex of the center. Room location in the building is an important factor in Vaastu architecture The location of a particular room defined by function is determined by respecting the particular element that rules that area of the building.

Practical Design Matrix


All these principles (and more) taken together give the architect a design matrix for creating buildings that live and vibrate harmoniously with universal energies. I have found them easy and pleasing to use. I am convinced that this information is worth study and application by anyone interested in understanding the significance and full potential of sheltering the human nervous system.

Vaastu Tradition
Here is a traditional procedure for an Auspicious Vaastu Ceremony In general, there are formal ceremonies that are conducted at the "auspicious time," the times of ground breaking, foundation stone laying and moving in, but they are in Tamil or Sanskrit, so they are not available to us except if we engage a Vaastu Pundit. My teacher, Ganapati Sthapati, has always encouraged me to conduct my own ceremony, telling me to use my own inner knowledge of what to do. We come from the heart with a good intention for the structure, which is to be an alive being, and also with respect for the Mother Earth upon which the home sits, rooted in Earth energies. The main purpose is to achieve a deep sense of identity with the Earth energy, the Mother Earth, with the Being of the house and with the blessing energies of the Masters of the knowledge of Vaastu Science. This is for the purpose of arousing these cosmic forces and directing them in a positive way for the project. A simple ceremony should be conducted at the auspicious time. This is the time of the awakening of Vastu Purusha. Work beginning at this time will be completed without any impediment and the constructed building will yield prosperity, wealth and longevity. At this time, a foundation deposit can be placed for the house. This deposit consists of precious gems and metals. It should be placed so that it will not be disturbed during construction. Contact me for information on how to obtain this. You can bring flowers, incense and fruit. If possible, you can stake the perimeter of the building. At least locate the area of the North east corner of the main rectangle or square of the building. There place a clean cloth or mat so you can sit and meditate and say the prayer for the house. At the proper time have incense burning and have the fruit and flowers to lay on the northeast area as offerings to Vastu Purusha. You can use you own words also, and these: Protector of the dwelling, recognize us: Be an excellent abode, the non-inflictor of disease. Whatever we ask of thee, be please to grant. Be the bestower of happiness on our bipeds and quadrupeds. Protector of the dwelling, be the preserver and augmenter of our wealth. Possessed of cattle and horses, Indra, may we, through Thy friendship, be exempt from decay: like a father to his sons, be favorable to us. Protector of the dwelling, may we be possessed of a comfortable, delightful, opulent abode bestowed by Thee. Protect our wealth, whether in possession or expectation and ever cherish us with blessings. Protector of the dwelling, remover of disease, assuming all kinds of forms, be to us a Friend: the Grantor of Happiness! Place the foundation deposit at this time and/or place the fruit and flowers on the northeast ground. Sit in silence a few minutes and then you are finished.

Lesson 2A Notes, About the Shilpins, Theory of Vastu Science


Copyright 2003-2009, Michael Borden, all rights reserved. Just a note by way of "experience is the best teacher: "These principles are new to most designers. They create a new way of looking at how a building should be laid out. As you generate designs for yourself or for others keep in mind that the employment of the principles in their simplicity is usually the best solution. I visited Sthapati's house yesterday. It is the simplest of plans and the ambience is wonderful. Clients will push for lifestyle preferences or views, etc., always try to guide them back to the simple solution in its completeness, or, warn them that they are not creating a pure energetic structure. In one of Ganapati Sthapati's books, Temples of Space-Science, he offers a dedication and so I use it here also: (The quoted passages are from that publication. You can order it if you like.) "To those shilpins (vedic artists) who shared their spiritual and aesthetical experiences with the society, through their technological expertise and hard labor, with the sole aim of bringing spiritual well being, physical welfare, material prosperity, peace and bliss to their doors and thereby preserving and maintaining the unique science and technology of Vastu, over the centuries, against odds and set backs, is this (seminar) dedicated." In the winter of 1998 I made my first visit to two of India's greatest temples, Chidambaram and Srirangam. Sthapati sent me there because he considers them "seed" temples. In other words, they are originals, models of Vastu architecture. They house, as it were, they DNA of Vastu Science. He said, "These temples have been, all through the ages, right from their emergence, functioning as veritable living beings and have ... been keeping alive both the spiritual and physical well being of humanity. " My visit to each temple was a confirmation once again of a professional belief that buildings can be life giving, inspiring, energetically alive. As I sat in the inner courtyard at Chidambaram late one sultry night and early into the morning during a Shiva celebration I realized that I was experiencing a peace and energetic ease (and even coolness) that was like a swim in a peaceful temperate pool. I had no urge to go anywhere or do anything. I sat in peace, on the stone, surrounded by Indian families. I was awash in the blessing of the sacred Vastu space created there. I was reminded of Sthapati's first words to me about Vastu architecture: the buildings are visible musical forms based on the grammar of rhythm and scale and mathematical order of the universe. We all have had the experience of how music can inspire and sooth the soul. These buildings are frozen, visible music in harmony with universal law. Before we get into the nuts and bolts of how to design the buildings we are going to talk theory for a while. The temples are the rocket science of Vastu architecture. In Tamil Nadu alone, where I am studying, there are over 35,000 temples identified and registered and probably twice this in total. The temples are the axles around which traditional life in India revolves. One finds them as nuclei for the regions, cities, towns and villages. Also, smaller temples are sprinkled throughout the land and are treated every bit as sacred as the larger ones. Chidambaram and Srirangam encapsulate the basic principles of Vastu science. Chidambaram is a dedicated to Lord Shiva as Nataraja and Srirangam to Lord Vishnu as Rangaraja. These are the two main images of the Supreme Divinity or Universal Law, however you wish to view it. Nataraja is seen in the image of the dancing Shiva and Rangaraja as the peaceful sleeping Vishnu. The main goal of the ancient vedic artists (shilpins) was to give concrete expression to the laws of the universe: to express the truth of cosmic order and form, to celebrate our connection with all life. The shilpins were architects, culptors, musicians, poets and dancers. To communicate spiritual bliss and truth

was their life work. They preserved and passed on the knowledge of Vastu Science through practice and oral transmission. (Actually, when I go to the sculpture yard and watch the sculptors work, it looks like almost nothing is transmitted orally, only by example.) The ancient shilpins realized the Supreme Truth of Existence as the substance "Vastu". They viewed God as embodying the science of Vastu itself. Existence is Vastu is the universe is God is all that we know and are. Nothing is outside of Supreme Truth of Existence. The temples are the pure expression of laws of the universe: the temple is a Divine incarnation, solid and real. They are microcosms of the universe. "There is scientific reality behind them," as Sthapati puts it in his book, Temples of Space Science. Sthapati talks of two types of science: Gross and Subtle. " Having seen the external features and analyzed external functions of Nature, scientists have shifted its subtle and internal structures and mechanisms. They have subjected them to the relevant and fitting mathematical laws. To bring out new creations according to the derived mathematical laws and utilize them for the well-developed material life is the motive of the first type of scientific system. I think 'Science is the more apt term to denote this type, the reason being that it is the system that has grown completely based o rational thinking. This type of scientific system is of the nature of changing rapidly and proliferating extensively...The second type of scientific system is eternal and immutable. It is directly related to the Self, which is beyond the reach of rational thinking. This is a system centered on the Spirit. We may call it the science of Spirit or Energy or the science of Space. "To go directly into the very heart of Nature, to know its features and functional processes, to frame them into mathematical laws so as to constitute an infallible grammar, to infuse the very Nature into those objects so as to be in total harmony with it--all these are the significant aspects of this second type of scientific system." This system of Space Science came into being thousands of years ago. It was cognized and realized by the great architect seer Mayan. (More on that later) Instead of calling it spiritual science the shilpins call it the Science of Vastu and the Science of Vaastu. (More on that later also) The vaastu tradition holds that there are five gross elements-- earth, water, fire, air, and space. All of these elements are present in the vast space of the universe as well as in all living being and worldly objects. "Space is the fundamental source and energy for all things, for their origination and for their existence. This important scientific concept, the tradition of Vaastu has been holding with it from the Vedic period and, in fact, from the period even prior to Vedic times. It maintains that SPACE itself turns into spatial forms and it has it's own mathematical order or dynamics for changing into aural and visual forms. In Indian civilization, all temples, sculptures, architectural constructions ... are the creations by shilpins of the tradition of Vaastu Science. Being born of this tradition, these creations render not only physical pleasure but also spiritual bliss and well being. This spiritual science ... moulds us and directs us to experience the inexplicable spiritual bliss by effecting a communion between its own artistic creations and spiritual consciousness. Modern science, based on rational analysis, is not able to accept the Indian view that space is the primal and foremost element, or that is even exists as an element. "For modern science it is not possible to analyze and realize the innate nature of space and to speak about its essential characteristics. Nor is it possible for it to apply the principles of space and to derive the benefits thereby. So, according to this empirical tradition of science, there are only four elements. ... It also refuses to accept the view that for all things space is the origin, basic source and place of existence and of movement. It is not possible for modern science to subject Space to scientific experiment. According to Vaastu Science, space is vibrant and conscious and turns into spatial forms. By employing this principle, Vaastu Science brought into existence cities and towns, palaces and houses, temples and sculptures, vehicles and bedsteads. All these have been created by Vaastu Science to appear not as spiritless forms but to exist as living and vibrating organisms. Each object created by it is a breathing substance. The houses and buildings are endowed with specific features that enable us to be in harmony with the outer world and also with the indwelling spirit. "The basic idea of these two kinds of science, material or intellectual and spiritual or space science could be summarized as follows: The modern science, being material in pursuit, searches for energy in matter and utilizing this energy it creates new object. These objects are meant for material welfare only. Vastu vijnana,

being essentially spiritual, searches for matter in energy and utilizing this matter it creates energetic, animate and vibrant substances which are ultimately useful for spiritual welfare.... Vastu Vijnana creates our houses so as to be the actual living organisms and musical forms and enables the indwellers of these houses to experience their musical charm and spiritual bliss. "Spiritual calmness and spiritual bliss - these are always the ends that are much sought after by the human race. These are the two spiritual fruits that are offered by the buildings created by the science of Vaastu ...through the external structural embellishments, and the internal configuration of living spaces. For the purpose of effecting these, there is a unique mathematical formula or order in the tradition of Vaastu. This is known as Vaastu rahasya (secret of the Vaastu tradition). (We'll get to it) "Space is energy filled or energy stuffed. If this energetic space gets limited or enclosed by four walls then the building becomes a living organism, having rhythmic vibrancy. Like the inner space enclosed with-in our bodies, the house also feels and vibrates. This rhythmic vibration is made to resonate with our inner vibrations and by this resonance the indweller of the house is able to be in harmony and communion with the universal space (Paramatma) and to experience spiritual bliss. "The built house should be on par with a temple which is the home as well as the form of God. This concept is what you perceive in the Chidambaram temple. What you experience there is the exact operation of this concept. It is actually a house. Unlike an ordinary temple, it is exactly a small house standing on a raised and rectangular plot. The enclosing walls are made of wood. The covering roof is also made of wood. It is a house whose roof is covered with gold tiles. In order to preserve this 'house' in its entire scientific conceptual frame, Diksitas, 3000 in number were employed by a Tamil king. "What is that which is found inside the house (Chidambaram)? A space; simply a space housing nothing concrete within itself. We call this space "Akasha". (Nowadays there is a statue of the deity in the inner sanctum, but Sthapati tells me that the Brahmin priests without the Shilpi's involvement put it there. Originally, there was nothing but a sacred space that itself was worshiped.) Akasha is of the nature of consciousness itself. Close your eyes and what do you experience: Space-unbounded: consciousness. "By its own innate nature it feels, it vibrates. It manifests its consciousness through its vibrant waves, through the waves of ever-going throbs. The vibrant waves emerge according to a mathematical order or formula. The measurements of the architectural constructions (as well as the poetry, sculpture music and dance) are defined and determined by the mathematical order. A person who stands before that 'house' or 'enclosed space' called 'AMBALAM' get infused and kindled with vibrant waves and subjected to their pronouncing impact. If the vibrations of his inner space and those of the 'ambalam' are in resonance, then he becomes one with the 'ambalam' or space, one with the vibrant consciousness...just like the musical harmony that manifests when two vina instruments are tuned to one and the same pitch. This kind of harmonious response is called 'bhakti'. This is the definition of Bhakti in terms of science. Where there is no harmonious response, there cannot be bhakti. Bhakti, which is also known as love, bestows on us spiritual health, calmness and bliss.

Lesson 2B, Mayan, The Founder of Vaastu


Copyright 2003-2009, Michael Borden, all rights reserved. Mayan,The Vastu vijnani and originator of Vaastu tradition states in his Mayamata that it is space (akasha) itself that is known as linga and which dwells in all things. He holds that the subtle existence or subtle energy which animates the entire range of things is "Vastu" and all those living beings and cosmic substances in which vastu gets itself installed are denoted by the term "Vaastu". According to him, Vaastu Purusha is the personified energy contained in the Vastu; that is, Vaastu Purusha is the energy itself contained in Vastu....Vaastu Purusha is the same energy which exists pervading all objects of the universe in general and pervading and permeating the whole earth in particular. Vastu is the subtle energy and Vaastu is the gross energy. Vastu is the unmanifest energy and Vaastu is the manifest energy. Since there is no diference between a thing in its unmanifest state and the same thing in its manifest state, Mayan declares that Vastureva Vaastu -- Vastu itself becomes Vaastu." "Space itself turns into spacial forms. Like gold turning into gold ornaments. Nothing is or exists apart from or as different from Vaastu. All those objects in which Vastu gets itself established are obviously animated objects, are breathing substances. There is nothing in this universe to be negated as inanimate or inert. "Instead of saying that Chidambaram temple is a house wtih empty space inside, we ... state that it is a the house replete with light. The empty space of Chidambaram temple indicates that the form worshipped inside the retangular hall is OM-light only. Om-sound is the basis for all the audible words and sound forms. Om-light is the basis for all the material objects seen through the eyes. "Chidambaram temple has been built not only for the symbolic expression of space concept,... It also exists to demonstrate and maintain the view that all the spiritual benefits such as well being, calmness, bliss, etc., are derived through the waves of light consciousness or of OM-light that emate form this temple...Thereby,this unique temple enables the people to experience these benefits directly. The building itself, primarily being a material energy(like the body is), is know as Vaastu and the enclosed space, primarily being the subtle energy(consciousness) is know as Vastu. Chidambaram temple is acutally an effulgent house in which light of consciousness is in its repletion.(just as the body houses the light of consciouness) What takes place there is the worship of light; what shines forth there with all visibility is the Dance of Light (Lord Nataraja--the dancing Shiva). The form of Nataraja is not an imagined one and it is the first manifestation of the primal light. "Chidambaram temple is the primal root of traditional housing architecture. At Chidambaram the house has been built and demonstrated to be a perfect living organism. "...space is of the nature of undiminishing effulgence and this space is brimming with minute atoms of light. ...Space is luminous-space. The single "Substance", know as Vastu Brahman, which is consciousness itself. getting kindled and excited of its own accord, extends everywhere...and is know as Light-space. The name of the energetic atom is paramanu, according to Vaastu traditon. We cannot see this paramanu but we could feel it...The Vastu Shastra states that the paramanu, which is not ordinarily visable to the physical eyes, is visible to the perfect yogins. Paramanu is an existential substance. Paramanu is Vastu. The literal meaning of the term Vastu is the existing substance" or "etrnal substance. For something to exist is must have three dimensions. Sthapati says that space is filled with "space-atoms". These atoms are also three dimensional. The tri-dimensional atom is cubic in form. Its sides have equal dimensions. "Within this cubical atom there is a luminous thread, like a filament in a bulb and it is always dancing there...To this light thread...the tradtition of Vastu science has given a significant name - Brahma Sutra! (the thread of light or consciousness) Vastu science has rendered another ...name also to the luminous

thread wihich is dancing rhythmically within the cubical atom. The name is Luminous Nataraja...the dance of Light... This luminous thread is the basic source of cosmic effulgence. The cubical effulgence of the atom is called lumonous atom...know as microbode (cubical cell). It is described as OM-light. The Mundakopanisad provides a wonderful description about this: There the sun does not shine, nor the moon, nor the stars; nor do the flashes of lightning shine there. If so how can this fire shine even? Everything shines forth only after this and because of this; by this light all things shine forth diversely. "The OM in its aural and luminous streams rises above and above...and turns itself into the universe. These risings, or surges and transformations, we the Vaastu vedins ... call Omkara natana. "Consciousness turns into light and the conscious luminous atom splits of its own accord, melts like a wax, assumes a form compatible and relevant to its feeling or consciousness, rises above and transforms itself on and on. Whenever we speak impelled by consciousness ... the luminous atom splits itself, melts, takes aform gets integrated again and becomes one, splits again and so on. This process of word and deed sound and acton - is called the Creation. the minutest subtle atom, paramanu, feels or experiences an urge, splits up and manifests as a continuous form through our mouth or our hands. "The cubical form is the intrinsic form assumed by paramanu when it is in its own innate state of tranquillity. This state is called sattvika. Sattvika means state of calmness. To bring a form into existence ...action or effort is essential. Our inner space has to shift itself from the state of calmness to the state of action. In this process of transformation the cubical prism first assumes the octogonal form and finally the spherical form....These two forms that have undergone transformation owing to the changes in quality are called rajasa and tamasa respectively. Tamasic state is the final state or the gross state of energy space...Tamasic world means gross world, ...full of gross, concrete and perfect forms. "The beautiful and rhythmic image of Luminous Nataraja , found at Chidambaram temple, is indeed the VASTU which is eternally dancing. The image of Nataraja shines forth as the basic mathematical order for the emergence of all other forms....we realized the God as luminosity and energy, we have discovered the exact form of that luminosity and energy through the science of Vaastu and we are holding it as adorable and experiencable. God is a Conscious Being; we are also conscious beings. If conscious waves of God and men mingle with each other and become one, the resultant effect is the unalloyed and ineffable bliss. This is the experience of Chidambaram. "The cubical prism is the basic structural design adopted by the ancient Vaastu vedins for the construction of a house. The house built on this design is known as dandaka sala ...or single phased house. ...The vital energy of air inside and outside the house is regulated and made to be in free and unobstructed operation by a mathematical calculation. Only this mathematical order has been rendered as the units of measurement in Vaastu technology.... This mathematical order is a systematic calculaton of the manifestation or evolution of space-energy into spatial form. .. This order or numerical measure is the basis of structuring resonance with universal energies...In the heart cave of the body there is inner space and inside the inner-space there is the vibrant thread of consciousness. It is this thread of consciousness that functions as the string of sarira-vina (bodily insturment) (The structure vibrates with cosmic energy and the bodily insturment resonates with this vibration) To create and offer the house of supreme bliss, and to enable us to experience that supreme bliss here in this mundane house itself -- these are the prime motives of the Vaastu science. Mayan, the energetic Seer and Sage was the creator and the first formulator of this great order. Mayan was not only a seer and sage but also an unrivalled shilpin by birth. As such he was able to raise himself up through intuitions and experiences and to give a naterial or structural form to the space-energy. He made the Invisible as Visable and the uncalculable as calculable. Named after Mayan, this order became popularly known as Mayamata. His work enshrining the essential principles and concepts of Vaastu science also came to be know as Mayamata.

Lesson 2C - The Five Elements (space, water, fire, air, earth)


Copyright 2003-2009, Michael Borden, all rights reserved. "Space is the first and source element in the series of the five gross elements (space, water, fire, air, earth) Earth is the last and ultimate element. The traditional space-science, according to Vaastu, begins with space and ends with earth. ...Space itself turns into earth. There is energy in space and energy in earth as well. The two energies are one and the same; one and the same consciousness. "Earth, which is seeded with subtle but most powerful energy, becomes know as Vaastu and the energy itself seeded inside the earth becomes know as 'Purusha' and according to the Vaastu tradition, it is the earth energy that is called Vaastu Purusha. "Man has to live in harmony with the pulsation of earth-energy or Vaastu Purusha. Earth is of the same nature as space. Both earth and space should be brought together and kept in union and for the purpose of effecting this union, the tradition of Vaastu has an operative mathematical formula. ...Earth by virtue of being the very basic support of all things, is the primal and dominant Vastu. "Vaastu Purusha may appear externally as calm, quiet and undisturbed, But, in reality, he is a great force, ever vibrant, ever energetic. It is only this Vaastu Purusha, the vibrant and energetic, the Earth, that we call Vishnu. Lord Vishnu is none other than Vaastu Purusha. At Srirangam Temple the image of Vishnu is the reclining, sleeping, Vishnu in the form of Lord Ragaraja. ...Even today, a ritualistic process prevailing in Srirangam Temple is to invoke and offer Vaastu Purusha a seat in the heart of Lord Rangaraja. Lord Nataraja's image, being of space energy, is to be made of metal only. In the tradition of Vaastu the image of Vishnu should be made of seasoned earth (stone) only in order to symbolize that He is earthenergy. "Since earth is gross energy, it is in perfect visibility. Vishnu is praised as 'the visible God', the evidently manifest energy. Another rule is that the image of Vishnu should be stable and immobile. To indicate this stability, Vishnu is shown in a reclined posture. "Lord Vishnu is specifically called 'antaryami' (meaning the indwelling controller), since He is not only the energy in the earth but also the Vaastu existing in all the worldly objects and in us. The image of Nataraja is the quintessential form of space-principle and the image of Vishnu is the quintessential form of the earthprinciple. So also, the temple enshrining Nataraja and the temple enshrining Rangaraja are the ancient temples representing space and earth respectively. "The science of Vaastu never considers the images and structures created by it as mere symbols. It renders them as the veritable ensouled beings... Having intuitionally experienced the conscious-primal-being, which is invisible but not inactive, having measured it though calculations of the vibrations of consciousness, these images are sculptured by employing mathematical measure." The same measure creates the conscious experience of Divine Reality in the minds of those who see the images and buildings, just as the mathematics of musical form creates a feeling of inspiration to the listener. The images in these temples "shine forth as solidified conscious forms, as the inspirited living forms... It is the aim of the tradition of Vaastu to make the invisible and transcendent being appear before our eyes as visible and immanent." Exerpts from Temples of Space Science by Dr. V. Ganapati Sthapati

Lesson 3 - Philosophical Foundations


Copyright 2003-2009, Michael Borden, all rights reserved. I'm giving you the philosophical foundations first. This is what Sthapati did with me. I was chomping at the bit for "practical" information and he keep feeding me deep philosophical concepts. I have come to realize that the philosophy is the heart of the knowledge: to have a strong feeling for this aspect of Vaastu Science is to give oneself a strong basis for feeling fulfillment in the application of the knowledge. The following is a transcription of part of a talk Sthapati and I had during our Kanyakumari trip. I thought that it would be a further inspiration to you. "Now you are coming into the verities of human beings. You are part of God; so, to understand God can I understand you? You are an entity of good and bad. You love me, you hate another man. So the hatred is less that love even though only from a single source. And if you are part of Brahman, that Brahman is called Saguna Brahman, Brahman with attributes. So that attribute Brahman has 'good and bad' qualities, that is how you are able to see Him. So everything ultimately comes to your numerical measure. You are a part of that numerical expression of God. That measure is actually responsible for the human form, so that quality also persists in you. "So there are two Brahmans: one attributeless, which is the source, and the attributeless Brahman takes form, becomes Brahman with attributes. We call it Nirguna (spelling) Brahman and Saguna Brahman. Vastu and Vaastu. "So this Vaastu Brahman will have its good and bad qualities. So you have to understand what kind of bad qualities and good qualities it has. So through calculation we will be able to arrive at that. So we ward off all bad things and take only good things. Whatever we examine in this mundane world is only the quality of Brahman or the dynamics of Brahman or the actions of Brahman. We calculate and we pick what is called the 'good" effects, the 'good' benefits and we introduce it in our structure. This is very, very important. Even if you go wrong in any of these (room) placements you are protected. Supposing there is a problem: you cannot place your bedroom in the southwest. In that case, the ayadi perimeter will protect you. We call it 'wavelength'. That wavelength we make into a rectangle or a square, so, within that, whatever lies in terms of space will be conducive for beneficial effects. In response to my question about materials: "It is space that counts most, not material. The if you are able to get these earth bricks, you get a kind of physical benefit also. The best material is brick, not fired. Unburned brick. To make the unburned brick strong we use some ingredients, also stabilizers. That was used in the past. The aim is to live in harmony with nature. Nature is quality of nature. So you are lying on the ground and you are healthy. You must have your walls of the same material. If the brick are fired they are less beneficial. The walls will have to be thicker to stabilize.

Lesson 4 -- Mayan -- The Vaastu Tradition


From the words of Ganapati Sthapati: Copyright Michael Borden Sept 1999 Mayan was the father of Vastu Architecture. He was and architect a town planner of ancient India. He authored the Mayamata Vastu Shastra (architecture) ,Surya Siddhanta (a treatise on Astronomy) and the Aintiram (the grammar of astro mechanics). He was also a great poet. He was adored as 'Viswakarma' by Veda Vyasa in the Mahabharata, implying that Mayan was aware of the dynamics of space and was able to apply the space mechanics to his own creations. Whatever he was able to create in visual terms, be it sculpture, building or city layout, they behaved like living organisms and pulsated with life. He was a great scientist of India who identified and quantified the vibrancy of the space enveloping the Earth and the heavenly bodies and also dwelling in each of the objects of nature. It is Mayan who has identified Brahman as the creative energy and addresses that supreme principle as Kala Brahman (Time). This identification of Time as Brahman has earned him a significant title: the Kalajanai. It was Mayan who equated Time and Space and evolved a system of spiritual arts namely, poetry, music, dance, sculpture and architecture--all governed by the principle of energy vibrating into space and spatial form. Sthapati says that Mayan lived at first in the Southern Hemisphere when there was a continent that included the landmass of present day India. He migrated north at the time of the deluge when that part of the continent sank beneath the ocean. He continued to teach and build and his disciples went out over the whole globe with his knowledge. There is direct evidence, found by Sthapati in his research travels, which shows that the Mayan civilization used these principles to structure their cities and temples. Sthapati says that Mayan is the father of Indian culture. He is the founder and inspiration for an unbroken tradition of craftsmen (shilpas) that exist in India and are the builders of temples even to this day. These Shilpas hold the scientific and technical knowledge from Mayan to create divine living forms. In the olden days, shilpa teams consisting of al the various trades used to move from place to place, on being commissioned by monarchs. Science and religion go hand in hand in the Vaastu shilpa tradition. The scientific tradition of Vaastu perceives Shakti (energy) as all pervasive and as the causal substance for all the manifestations of visual and aural (sound) phenomena in the universe. They have named their Shakti as Para-Vastu (subtle substance). This Vastu turns itself into Vaastu. This phenomenon can be equated to gold turned into gold ornaments, the shilpis acting as agents for transformation. Vastu is recognized by the Vaastu tradition as one dwelling in the inner space of individual beings as well as in the outer space that turns into forms. It is space that turns into forms, because of its self-propelled vibration, the vibrational force as the working agency. To do this is its very nature. This agency is designated as (Absolute) Time, emerging out of energetic space. This is analogous to the vibration of the stringed instrument into sound forms and this, in turn, when set to rhythmic vibration turns into musical forms. " Absolute Time creates life," says Skanda, an ancient Puranic text. There is also another quality of space responsible for the sound-space. It is called "Luminous space". This pervades the entire universe. This is the cosmic space wherein lie unified what are called Time and Energy as absolutes. This is filled with luminous substance (vastu) in the name of Paramanus, the minute particles of space. The luminous space is supersensitive, capable of becoming conscious of itself and vibrating into objects of which it is conscious. This action is its intrinsic nature and responsible for the forms that occur in the inner space of individuals (thought-feeling) as well as in the outer space of the universe. The Vaastu tradition designates the inner being as Shilpi and the inner manifest subtle form as Shilpa and, as such, the whole inner and outer universes are filled with Shilpas. One Shilpa, Vidya Rahasyopanishad says that the universe is filled with shilpas (images). One Vastu-sutropanisad of the Atharva Vedic origin

says that Pratimas(images) germinate from the Shilpa, meaning gross visual forms are projected outside from inner being. "The sculptor becomes the sculpture and the poet becomes the poem" is a significant statement of the Vaastu Vedins. The projected visual form has the touch of a lyric, depending upon the individual's inner culture. The sculptor is therefore a poetic carver, so far as the shilpis of the Mayonic tradition of sculpture and architecture is concerned. The Vaastu Shilpa tradition is denoted by various names, such as, Vaastu-vidya, Shilpa-vidya, SthapatyaVeda, Artha-Veda and Vaastu-Veda. It is really a Veda by itself as viewed by the contents and treatments of the subject matter. Though the available texts on Vaastu are all basically technological in treatment, they are rooted in the science of Time and Space. They look upon gross matter as the manifest form of the unmanifest subtle energy, controlled by absolute time. From the Skanda purana: "Time creates all beings, Time sweeps away all that were created. Everything rests in the hands of Time; but that Time rests with Him." Vastu is Energy. Vastu is the Unmanifest. Vastu is the substance of all substances. Vastu is the Purusha, the "Vastu Purusha" or "Vastu Brahman". Vastu is subtle and Vaastu is gross. Vaastu is Energy manifest. Vaastu is embodiment of energy. Indwelling energy is "Purusha" or "Brahmin", hence, embodied energy is "Vaastu Purusha" or "Vaastu Brahman". Vaastus are all living organic forms, including human forms. Space is "akasa", the primal element of the universe. There are two such spaces, the inner space and the outer space. This space exists in all objects. Nothing in the universe is inanimate. That which happens within the individual space also happens in the universal space. They experience, vibrate and take form. We talked about space being filled with the minutest particles called Paramanu (subtle particle of energy). Every Paramanu is a minute space possessing energy. Paramanu is cubical in form. It is absolute or an abstraction of all visual and aural (sound) phenomena of the universe or the ultimate "existence". We said space is luminous, as the particles are always emitting light. This is called foetus or sperm, the basic material for the emergence of subtle forms in the micro. as well as macro-spaces. This is the live material that has metamorphosed itself into the manifest world. All objects of the universe are space turned into spatial forms. Space, whether individual or of the universal, possesses a unique quality of experiencing. It is hypersensitive. It is capable of giving form to its experience. For the experience to take form, the space goes into self-spin. It vibrates. This effortive force of the space is called "Kala" or "Time". "Kala" literally means "that which emerges from within". This happens to be the intrinsic quality of space. Space is sensitive enough to order and control this vibration into rhythms and to evolve itself into the desired form: rhythmically structured and aesthetically rendered. In art, "Kala" becomes "Tala" (measured beat). In the physical world, the Kala-measure is produced by the dancer by the beat of her foot on the ground. The same is produced by the musician by his hands. Tala is rhythm, a well-defined time-space. The dancer produces bodily forms by dancing "in tune" with this timescale or the frequency of vibrations. Rhythmic time-measure produces musical forms. Poetical compositions are also governed by time-measure called matra-kalam or akshara-kalam. This is called "speech rhythm". This concept of rhythm-bound spaces is extended to art and architecture. Hence architecture is called frozen music since time is stilled in such visual forms. Time is stilled, yet, the object is vibrant. It is an object where time is stilled in Brahman. Hence all forms created by the shilpi, following the measure of the divine being, have become worship worthy because they are the forms (geometrical patterns) of the Spirit, reproduced in its own time-scale. They are pratimas (replicas) of the subtle forms experienced in the heart. They are living organisms. The measurements used by the shilpi represent the vibrational measure of universal space. It is measure that is responsible for form: poetical forms, dance forms, musical forms, imagic forms and building forms. These, as found in the Shilpi tradition are all spiritual and hence divine. Even God is bound by measure. He is a measured Being. He exists only in measured form.

These rhythms in abstraction are discovered to be numerical measures or mere numbers. They are the spatial measures for the shilpi to shape his experiences into the forms desired. They are spatial forms produced by the time-scale. Time changes itself into form. Time and Space are equated in the Vaastu Science. Mayan, the celebrated authority on the Vaastu shilpa tradition, is the discoverer.

Lesson 5 - Ancient Origins of Vastu Science


Copyright 2003-2009, Michael Borden, all rights reserved. I thought that the reference to Kumari continent might have raised a few eyebrows so I searched Sthapati's library for something that would help me elaborate the point. I found a publication of a paper presented at the Second International Seminar on Mayonic Science and Technology. DR. S. Padmanabhan presented the paper and the title is: Mayan in the Kumari Continent. This lesson will be composed of material taken directly from that publication. By the way: If you ever go to Los Angeles, there is a very amazing computer simulation of the history of continental drift over the last 6 billion years. (I think it was "billion", maybe it was "million") It goes through the dance of continents in three minutes. The one central theme around which the history of the Tamils evolved is the concept of Sanghams, where poetical compositions, literary and grammatical works and treatises on art and architecture, were presented for assessment of their merit by the eminent scholars in the respective fields. Thus the Tamil language and literature and art and architecture had the unique advantage of a systematic growth for many centuries through Sanghams under the patronage of Pandya kings. There is enough literary evidence to show that the first and second great Tamil Sanghams were held at South Madurai and Kapadapuram respectively in the lost continent of Kumari and the third great Sangham was held at the present Madurai. According to tradition, the scholars selected the top of the hills for the venue of the Sangham to save themselves from the frequent sea erosions. ...beneath the Indian Ocean there lie the remnants of a vibrant and hoary civilization of the Tamils going back 25,000 years, which were submerged by periodic cataclysmic landslips during the remote past. Peninsular India extended beyond Kanyakumari ( the southern tip of present day India) forming a sprawling continent touching Africa in the West, Australia in the East, Antarctica in the South and occupying a large portion of the Indian and Pacific Oceans. From Cilappatikaaram, one of the twin epics in Tamil literature, we learn that the river Pahruli and city Kumarikoda along with a huge range of mountains disappeared in a great deluge. The land south of Sri Lanka according to Mahavamsa covered a distance of 4900 miles southwards. The forefathers of the Tamils lived and thrived on the vast land south of Kanyakumari swallowed by the sea. Their two Sanghams were held there. In the first Sangham, Agathiyam written by Agathiyan was the authoritative grammar of language and literature while Aindiram, written by Mayan, was considered as an authoritative grammar on art and architecture. Though Agathiyam was famous during the first Sangham period, it is regrettable to note that only a few fragments are available now. But it is a matter of pleasure and pride to know that Aindiram is available now. The text of Aindiram was found in the Saraswathi Mahal Library, Thanjavar and also from the oral renderings of one scholar, Veerabadran . (Note from Michael: Sthapati told me the story of how this old pundit just showed up at his office one day and told him he had the whole Aindiram memorized!) Aindiram is a multidimensional treatise on Energy and Matter, Space and Time Order and Beauty. Absolute time creates life said Mayan in his Aintiram. He added that "Mathematics has its roots in the Time unit and Architecture is the zenithal achievement of mathematics." Aindiram is an embodiment of the subtle and penetrating theories of five aspects (Ain-Tiram) namely, Moolam (prime existence), Kaalam (Time), Seelam (Rhythm), Kolan (Form) and Gnalam (Earth). Mayan views the entire cosmic phenomenon in terms of these five aspects. We find that the number "5" is closely associated with the ancient Tamils in the continent of Kumari. They divided the land into five, namely Mullai(pastoral), Kurinji (mountainous), Marutham (agricultural), Neithal (maritime) and Paalai (desert). In Aindiram of Mayan we see his interpretations and enunciation of the truth related to sound energy and light energy in multifarious ways and his lineaments to the art of poetry, music, painting, drawing, sculpture

and architecture. He provides grammar for all these arts. The text speaks of the traditional cosmology particularly the system of creation with a deep insight into the behavior of individual self and universal self: the inner space and outer space.

Lesson 6 -- Mahabalipuram Filming Text


Copyright Michael Borden September 1999, all rights reserved. We went to Mahabalipuram a few days ago for filming Sthapati for a documentary. It was very interesting because the film makers came with their idea of what they wanted to come away with and Sthapati had his own agenda. He told me that the filmmakers didn't understand their own culture, in fact, that most Indians didn't. He said that what they were used to regarding as religious was just superstition and that the true cultural roots of India are based in the science of Spirit. Spirit is not religion. Spirit is truth. Spirit is universal law and its foundation in the Ultimate Source. They wanted to present a personality, a "great man" and this is what he gave them: I am very happy that we are all today in the midst of old rocks and old rock monuments. The place is Mahabalipuram ruled over by a great king of the past by the name of Mamalla. (spelling may not be correct) Behind me you are looking at two monuments. They are very famous monuments, historically and also, culturally. What do they represent? Why have they been formed here? What is the meaning of the structure? These are certain basic points that we have to know, though after a lapse of three to five thousand years. This structure (the old rock temple) is called by a technical name: Vimanam. In the local language it is called Garbhagriha. What is the meaning of these words? They are very, very significant. In a sense, they are scientific also. Vimanam: This particular structure is fabricated by the use of many, many measures, multi measures. This is actually the definition of the word Vimanam. The sculptor or the architect who designed and also did this work has applied many measures to create this kind of form. Vimanam is the technical name. We shilpis create monuments of this type. We say it is a little universe. Actually, the universe is a big thing. It's a big space, enveloping not only the physical objects of the world, not only myself and yourself and everybody living on the face on the globe, but also a small particle of form which is part of the Vaastu space. Our Vastu Shastras, or Vastu Science, says the space is not empty. It says that space is filled with cubical atoms of energy. These are invisible but have a structure according to Vastu Shastra. This structure, looking cubical, is actually the core part of the Vimanam structure that you are looking at. That cube contains a lot of energy inside. The energy inside vibrates, sends forth waves of energy and these waves of energy, or vibrations, have to be quantified in our Vastu Shastras. And, as Vastu Shastra says, a particle of space which is cubically formed resides in yourself also. Because of that, you also experience and vibrate just like the vibration that takes place in the space. We design the structure so that the vibrations emanating from the center of the garbhagriha cell and the vibrations coming out of your own inner self go together, respond to each other. This is called harmony. In other words, it is called Bhakti, devotion, love. This structure, though looking like a stone made structure has this kind of scientific concept. That is why the temple worship, the temple culture, has been going on for centuries together and no new tradition came up to replace it. It is eternal. I was referring to two spaces: one is called the outer space and the other is called the inner space. The space which is dwelling in the human frame is called the inner space and the space surrounding the human structure is called outer space. The vimanam has a space inside the structure. It is called enclosed space. This has the quality of going into vibration and your human structure with the space dwelling in it has the capacity to go into vibration. If these two vibrations go together we say the "harmonize". They create a kind of harmony. How to understand this spiritual harmony? How these vibrations respond to each other is an important question. Bring two veenas. Put one at one corner of the room and the other at another corner. If these veenas are pitched at what is called Panchama (sp) (a particular tuning) when one is plucked the other will

also vibrate, respond to that kind of vibration. In English it is called sympathetic vibration. In our own Vaastu culture we call it "spiritual harmony". Vibrations come out of the main sanctum, vibrations come out of the man who stands before that sanctum, and they go in harmony with each other, in fact they love each other. In other words, because of this harmony the spirit grows in strength. It is otherwise called spiritual strength. This is achieved by worshiping either the structure or the image put inside the main sanctum. When you go to temple, stand before that and you will be tuned. In the structure of the vimanam you are looking at you will find a big dome and smaller domes surrounding. Various forms also, just below: multi-forms go into the whole structure called the vimanam. I f you seriously look at that you will find that none of the forms that you are able to see here are copies from nature. This is very, very important, so far as Indian art form or culture is concerned. Take for instance the dome and all the members going like this (the hand sweeps in a curving down and then up motion). That particular pattern is representative of the lotus. In Indian art forms there is one unique point which you can't see outside the tradition. If you look at the vimanam you will find many forms going into the fabric of the structure. If you take only the lines that give that kind of form you will find a kind of lotus blossoming. This lotus motif is the keynote of Indian architecture. The artist has got is from that experience of having looked at the lotus on the pond. He doesn't repeat the same thing. He enjoys the lotus, its form, its folds, these feeling tones are expressed in "feeling form" and that feeling cultivates the experience. The lotus occupies a prominent place in the design of temple architecture. Almost everywhere you will find this form. It is not repeated from nature, but comes from the enjoyment of nature and expression outside in terms of lines and forms. In everything you will find only feeling forms. This is spiritual art. The artist has taken only the essence. That essence is called Vastu. An essential substance of the universe is called Vastu. When it is expressed through material form it is called Vaastu. That feeling of the essential form, what do we mean? You go and see a film at the theater. You come home. Your wife asks, "What did you see there? How was it?" You say, " It was very beautiful." Only one sentence you are able to adopt. Because the total experiences you summarize and put into one word: beauty. And then express. So all that you have seen on the screen and ultimately you are coming to one sentence, one word, one experience. This is occurring in our Indian

Lesson 7 - The Science of Manifestation


Copyright 2003-2009, Michael Borden, all rights reserved. From the publication "Vaastu Purusha" a periodical published by the Vaastu Vedic Research Foundation. The whole of cosmic structure is effected and maintained by innumerable streams of manifestation. These streams are subsumed under two categories: 1. Cosmic flux of sound called sabhda prapanca and 2. Cosmic flux of light modified into worldly objects called artha prapanca. Both realms of sound and light are well balanced by the rhythmic creative order of the Divine. The beauty of the Divine order could be seen in the symmetrical, balanced and simultaneous existence of both the subjective world (sabda prapanca) and the objective world (artha prapanca). Both quality wise and quantity wise, this balance, symmetry and simultaneity are maintained. For example, if there emerge 100 forms on the subjective side, simultaneously and correspondingly there emerge 100 forms on the objective side. Only on this account, the science of grammar of language maintains that all the words are denotative of their corresponding referents/objects. There is no empty word bereft of referent-significance and there is no object with out being characterized by relevant sound-significance. Sabda prapanca and Artha prapanca are always interdependent. Mayan Rishi, having impeccably known the subtle principles of the science of manifestation, sets forth this cosmic balance maintained between sound-forms and light-forms. In Aintiram, the Key-work of Mayan, one of the Sutras reads: "Oli-Oli vadivaay ongum elutte." Peripherally this means: "Letter is ever rising and functioning in the form of both light and sound." But apart from this peripheral meaning, we could observe the multiple dimensions of meaning as radiating from the sutra. The main source of such radiation of multiple meanings is the term 'eluttu'. 'Eluttu' is derived from the word 'elu' meaning 'the creative urge', 'excited to manifest', 'operative stir'. As such, the different meanings of the term 'eluttu' as conceived by Mayan are -- letter/phoneme, pranava -the primal letter, the inexhaustible cosmic stuff, the imperishable existence (akshara), square mandala, sculptured object and so forth. It is generally understood that letter or phoneme (defined in the dictionary as: Any of the minimal units of speech sound in a language that can distinguish one word from another.) is concerned with sound only. Sound and light are inseparable and as such each letter is charged with sound energy and light energy. For example, 'a' is associated not only with its articulated sound but also with its own luminous form characterized by color, emerging factor and relevant function. The Vatulagama states (2:35): "'a' is of the nature of all divinities; it is red; it is capable of bringing all the existents into its fold." This means that 'a' is inseparably associated with multi-divine factors, red color and the power of unfolding or enfolding. The luminous form 'a' itself is constituted by four energies, as the Paushkaragama puts it (8:13): "On the top of 'a' is Paudri; on its face is Vama; on its sides exists Ambika. Jyeshta Sakti is in the middle, like a staff." This is how the actual subtle form of 'a' appears. Similarly, all other letters from 'a', 'i', etc, have their own subtle forms constituted by many other saktis. Since all the letters are charged with and energized by different potencies, they function as the creative and regulating powers of the universe. They are not inert letters. Actually there is no such letter as marred with inertness. Every word or letter is derived from the Divine-I-Consciousness, which is with constant creative urge

expressed by its ever-going 'spanda' or 'throb'. This consciousness is called 'the Supreme Verbum (paraa vaak). The one to one correspondence between sound and light is maintained at all levels. If there rises one shoot of sound from the Supreme Verbum, simultaneously there arises a shoot of light. Sound forms and light forms are the simultaneous manifestation from the primal source of creation. The energy of the Supreme Verbum flows into various letters from 'a' to 'ksa', which as conscious forms of energy brings about the manifestation

Lesson 8 -- Vaastu Purusha Mandala


Copyright 2003-2009 From lectures and writings of Dr. V. Ganapati Sthapati All rights reserved by Dr. V. Ganapati Sthapati. The concept of the Vaastu Purusha Mandala (VPM) is basic for the Vaastu designer. The VPM is the underlying pattern from which all manifestation generates. The Vaastu designer uses this pattern as the starting point for any built form. The following material contains a story that is mythological as far as I can tell. Sthapati has never emphasized this story or used it as a basis for understanding the functioning of the VPM, at least with me. In the context of my study sessions the VPM has always been an actual model of the basic pattern for creation. This pattern contains inherent energies that create the rise and fall of expressed form. It is a scientific fact, as he would put it, or if you wish, a scientific theory. Some of the following should be familiar to you from lesson 1. I would like to make a special reference to the popular view of the Vaastu Purusha Mandala as met with in the ancient shastras such as Brihat Samhita (5th century B.C.), Vaastu Vidya, Agamas and also Puranas. Puranas, in Vaastu context, are considered as the historic epics of ancient India. The Puranas are of course, replete with moral themes couched in story forms, in mythological terms, in the course of narration of which, certain historical events and the cultural life of the people of those times are also recorded. Such things need deeper study and proper interpretation, particularly of technical material that we come across in the body of the Puranic literature The Vaastu Purusha Mandala as expressed in the texts mentioned above signifies the emergence of primordial Space and Spatial forms from out of the Primordial Energy, held as the Ultimate and the Absolute. Though it is not openly stated as such, this is the significance. It may be stated that the explosion of Energy with enormous heat and the consequent emergence of "akasa" or "Akasha bhuta" is the Indian Big Bang theory. According to Brihat Samhita, which is held to be earlier that the Vaastu Shastras, there is a story of a Bhuta, a demonic force, producing heavy uproar, spreading the entire void with what is normally called celestial space or Akasha. It is further said that the celestial luminaries, called the 'devas', frightened by the monstrous form and dinning noise of the Bhuta, exerted their might on it and pushed it down. The demon fell on the ground with an uproar and with his face down on the earth. The devas occupied parts of the body of the demon. Not being able to bear the weight of the devaganans, the demon concealed himself in the belly of Lord Shiva and prayed to Him with his head on the North East corner. Releasing him, Lord Shiva gave him a boon that he would be the guardian deity of the built forms and he would be worshiped by all human beings when they commence building activities and on the occasion of entering the house ceremoniously. This kind of story is found today in almost every text we have inthe name of Vaastu Shastra. It is said that this demon is called Vastu Bhuta, sometimes as Vastu Nara, and is living within the framework of a square with his limbs folded but spreading the entire space. (see photo that will come separately as an attachment in another email transmission)) In this mythological story what is implied is that it is the abstraction of the space and its qualities in a miniature form but also it means that this miniature space is the first manifest form of the unmanifest energy. That the Vaastu Purusha is all pervasive is signified in the spreads and folds of various limbs within the square plot. The devaganas occupying the various parts of the body add another dimension to the concept of the Vaastu Purusha as the miniature universe. The celestial beings such as Surya, Agni, Varuna, Vayu, Kubera and similar other Divine Beings are brought into the complex of the Vaastu Purusha layout. In this particular miniature universe one would find them to be the forces of nature having assumed material form. We also have the subtle qualities expressed by various celestial bodies (planets and sun) represented on various parts of the Vaastu Bhuta. All manifest forms of the unmanifest flooding the universe have got certain specific qualities of good and

bad integrated solidly in the manifest material form. The gross nature as well as the subtle nature is not free from positive and negative qualities. For instance, a wind, when gentle, is a breeze and gives a soothing effect to all the animate beings on the Earth. The same wind, when it intensifies into a tornado or hurricane, produces disastrous effects on hunam settlements. The universe where we live is filled with "good" and "bad" energies which we try to meet or avoid by our intellectual efforts. One such intellectual creation is the "building" meant for our protection against negative effects of the forces of nature, physical and subtle. There are two basic types of Vaastu Purusha Mandala, one of 8 x 8 = 64 squares and the other of 9 x 9 = 81 squares. If you can't open it let me know. Here's a description of what a VPM looks like. It's simple: Just make a square and divide it into 8 equal parts each way, vertically and horizontally. Also, make a square and divide it into 9 equal parts each way. Graph paper is good for this. ) The 8 x 8 VPM is called Mandukapada. The 9 x 9 is called Paramasayika or Chanditapada. The Manduka is said to be "Sukshma" (subtle) and the Paramasayika is "Sthula" (gross).

The VPMs consist of concentric square belts going around the central core called the Brahmasthanam or Brahmapadam. (Look at your enclosures or your drawings. See the outermost ring of 28 or 32, depending on which VPM style, this outermost ring is called Paisachila padam. It is the realm of the elements. The next ring of squares in is 20 and 24 squares respectively. This is called Manusha Padam, the realm of human beings. The next ring is of 12 and 16 squares respectively. This is called Deivika Padam, the celestial realm. The innermost group of squares 4 and 9 respectively is called Brahmanpadam, the Divine realm. There are actually 32 types of VPMs ranging from 1 x 1, 2 x 2, 3 x 3, ....to 32 x 32. They are classified under 2 categories, one of even numbers and one of odd numbers. The 8 x 8 and 9 x 9 patterns are basic and the other patterns spring from multiples and fractions of these two. The Manduka Vaastu Purusha Mandala (and all even numbered VPMs) is used for the design of temples. The Paramasayika Vaastu Purusha Mandala (and all odd numbered VPMs) is used for all other structures. A structure is laid out with respect to the plan of the VPM. The walls and columns are to be found on the grid (energy) lines and grid (energy) line crossings respectively. (Best to use "center line" layouts) The vast space, looking limitless or formless, is really a space bounded by four walls of space. It is a well-defined space, which is square. The building plan derives its shape from this square called the VPM. Any free space, when bounded by three lines or more becomes a limited space. This is form. Of all the forms nature has created, the square is perfect geometrically and spiritually. Do not forget that the VPM is basically a space of the spirit or energy particle. The inner structure or configuration of spaces as exist in nature, inside the mandala, is also repeated. What is the meaning of apportioning the space into Brahmna Padam, Deivika Padam, Manusha Padam and Paisachika Padam? Vaastu Science holds that the two outer belts alone are meant for living purposes, not the center two. This is because once the unlimited space (material or spiritual) is limited into a form, the

space enclosed becomes a space with qualities of the cosmic space, the positive and negative effects or qualities being included. There is a general pattern of energy existing and spreading from the center. The central space of 2 x 2 or 3 x 3 is a field of centralized or nuclear energy. It is a space of intense energy or heat. Anybody turning this space into a room for long term occupancy (throughout the day or night) will have the body scorched in due course. This space is ruled out for any ongoing living purposes. It is from this central core that the energy comes into the house and dissipates into all eight directions in the built form (north, south, east, west and their intermediate directions, northeast, etc.). The flow of energy should not be impeded or blocked by walls or pillars or any feature. The ring that exists next, around the nuclear field, called the Deivika Padam, is lesser in terms of energy or heat and hence it is treated as a walk way area inside the house. The last two rings of squares, Manusha and Paisachika, are cooler yet. The word "manusha" implies that it is a space of material substance (it also means "manas" --place of crystallization of consciousness from molten state) "Paisachika " means a well consolidated and hardened core or mantle, fit for human habitation. According to Mayanic science, these principles can be applied to the Earth itself. Originally the Earth was a primary substance without any identity. When it started taking shape it became a cube of 8 x 8 paramausize from which it rose to the present size of a sphere of 7,926.57 miles in diameter. (Sthapati says that if the Earth stopped rotating it would become cubical in form.) Vaastu science designates the Earth as an 'egg'. All visual forms in nature have three stages of evolution traditionally: formless, mixed or egg state and form state. The Earth falls under the mixed or egg state. We can say that the Earth's diameter is divided into 8 digits adding up to 7,926.57 miles. Now if we bring into this the notion of the VPM we find the outer belt (Paisachika Padam) of well-cooled and consolidated life supporting material. This is the crust or mantle of the Earth. If we divide 7,926.57 by 8 and then by 2 (1/2 is for each side) we get that he crust or Paisachika Padam of the Earth is about 500 miles thick. Twice this is the size of the inner core of fire the Brahmasthan of the Earth at the center of our planet. So, is it becoming clear that house building is building a little universe with all the qualities therein? The Sthapatis consider the building a little universe created on Earth.

Lesson 9 -- Spatial Measures


Copyright 2003-2009, Michael Borden, all rights reserved. In Vaastu science, the building is laid out according to specific dimensions. These dimensions are a reflection of specific basic measures with which the designer begins his layout of the plan. The following is a transcript of a talk given by Ganapati Sthapati on the Tala System of Spatial Measures. Copyright Dr. V. Ganapati Sthapati January 1997 This part is again getting into theoretical information, but it is important for understanding the technical application of the measures. In the domain of the creative work of any art form or object of utility, we know that "movement" and "measure" always go hand in hand. These two elements of form figuration are indispensable in the sense that they ensure a definite shape of grace and beauty to the thought-form or experience. Every country has developed a system of measures for its creative endeavors. For instance, we find the metric system being used in European countries and the foot-inch system in the American continent. Surprisingly, in India, though we have adopted the metric system of measures, from very early times there has been a unique system of linear measures, the significance of which is not known to the contemporary technical world. The unit of measure that India used before the advent of the British system implied a unique concept of time and space. This time-measure has come to de designated in the scientific field by a peculiar term called "Kaala maanam" and in the technological domain as "Taala maaman", each of which means "timemeasure". The "Time" that is known to the Vaastu Science is independent or absolute, not solar time, which is physical or relative. There is a Tamil expression for signifying death: "Kaalamanan". This literally means that one has merged with "Time" or "dissolved in time". This is very much expressive of the scientific concept of time as held in the Indian tradition of Vaastu. "Time" signifies growth of the physical body and the end of that body. Time creates, sustains and erases life. This concept is not only applicable to objects in the universe, but also the universe itself. The universe itself is a product of time. Time not only creates life but also give form to life. What is it that provides form to life? Is it not measure that gives form to life and makes it visible? Yes, time gives life and form. It is time that changes itself into measure. The physical measures as given in the table of time-units (below) and those of space measures (converted into linear measures) are indeed vibrational measures, or digital measures, which the Vaastu designers apply in their layout of spaces. They are universal measures and of universal applicability since they are derived from the vibration of the universal space. The conversion of time units into spatial measures signifies that Time is equal to Space. In normal life situations, the vibration of the inner space of the individual beings, though this inner space is part of the outer space, is experienced as not always being in harmony with the universal space. This disharmony is due to the time under which one is born. This is with reference to a branch of knowledge concerned with astronomy/astrology: a branch of the science of the mathematics of Time. Every being is born under the influence of a particular star, the negative or positive element being the quality of Time. In normal circumstances, observing an individual's rise and fall, we comment that it is the work of Time, "kalam seiyyum kolam", meaning: it is Time that has taken such a shape. This discovery of Time as the giver and shaper of form (life) revolutionized the pattern of culture and civilization of India. In India the Tala measure is most familiarly applied to the field of Music and Dance, but that same Tala

system has been in force for centuries in the domain of sculpture, architecture and poetry. This Tala measure is also denoted by another term, rhythm, which is used in the fields of music and dance all over the world. This Tala rhythm is used in the design of residential buildings, temple structures and sculptural forms. In the past, it was also used in designing furniture, vehicles and household utensils. A casual look at the table of units offered in the Vaastu texts would not suffice to understand its significance because they are super scientific (not superstitious) and unheard of in any of the world measurement systems. The science behind these measurements has its origin in the vibration of the amorphous space filling in and surrounding the universe. The universe itself is a hypersensitive living organism. In Purusha Sukta we have an inkling on the origin and evolution of energy into space and space quantified into numerical measure: "He. the Purusha, surrounds the Earth and yet He stands high by a measure of ten angulas." Purusha, here, means the energy dwelling in or permeating the universe and all the objects in the universe. This sukta signifies the amorphic quality of space and also the intrinsic nature of space vibrating into a numerical measure of ten angulas. The vibration of energy is the causal element of space and spatial forms. This vibration is designated as Time or Kala in the Vaastu tradition. The inner space and the outer space feel and vibrate their feelings into numbers, which result into spatial forms automatically. The process of form generation by the vibrant spirit takes place in between our experience and expression so swiftly that we have lost sight of the effective role of Time in the making of visual or aural forms. This particular aspect of the dynamism of the Spirit or Time was identified and quantified by Mayan, the Indian scientist. It is he who has defined Time as the unit of vibration of Energy and also Time as absolute. This vibration and the process of form generation are the work of the universal spirit. The whole process of manifestation rests in the hands of Time, which is the innate quality of the Spirit -- the Viswa Brahman. Time is personified as Viswakarman (kinetic energy) and the Spirit as Viswa Brahman (potential energy). How the dynamics and the formulas of Viswakarman, the creator of the universe, have been realized and applied to create things of beauty and utility is the achievement of Vaastu science and technology. Though this science the human being is able to achieve unity with universal spirit while on Earth. All objects of nature are rhythm-bound-forms or time-bound-forms. The generation of forms out of the vibration of energy-space is identified and quantified by Mayan as "Eight" and multiples of eight. In the table of time units and space units you will find the evolution of the measure starting from zero (then springing from the most basic form the Paramanu) and evolving forms in multiples of eight. This number eight is held very sacred in vaastu science. The nature of the number eight is to turn into form. Eight is the basic formula of rhythms influencing the growth of all animate forms. It is the rhythm of the universe: the primal universal vibration and, as such, it is Divine. Eight is the fundamental measure adopted by dancers, musicians, poets, architects and sculptors for all the growth of artistic forms that they generate from within. This eight, as the primal Taala unit, is called "adi-taala". This, also, is the subtle taala experienced by human beings at the inner level of the heart. Vaastu measures are derived from this is Divine rhythm. All other taalas are derivatives, thus giving rise to countless forms. The human body itself has undergone this rhythmic growth. The full-fledged human body consists of eight units of measure: 1.3.2.2. This corresponds to the length of the face - 1 talam, torso - 3 talams, thigh - 2 talams and lower leg - 2 talams. Angula Samkhya Table The units of Time and Space Table of Time units: Table of Space units: 8 8 8 8 8 Ganam = 1 Lavam Lavam = 1 Kaashtam Laashtam = 1 Nimisham Nimisham = 1 Tudi Tudi = 1 Kuru 8 8 8 8 8 Anus = 1 Car dust Car dusts = 1 Immi Immi = 1 Ellu(sesame seed) Ellu = 1 Nel(Unhusked paddy grain) Nel = 1 Angula(Finger measure)

2 Tudi = 1 Druham 2 Druham = 1 Laghu 2 Laghu = 1 Kuru

6 Angulas = 1 Taalam 12 Angulas = 1 Vitasti 24 Angulas = 1 Hasta

3 Laghu = 1 Puvadam 8 Hastam = 1 Dandam 4 Laghu = 1 Kaaka Padam 8 Dandam = 1 Rajju

Table of Vaastu Units 1 Angula 1-3/8 inches 24 Angulas = 1 Hasta 33 inches

From these tables we can see that the number "eight" is a very significant quality of universal measure. When "eight is taken as "Time" it is called rhythm and when it is taken as "Space", it is also called rhythm. The former is rhythmic time and the latter is rhythmic space. These rhythms are derived from universal time and space and represent a universal order. These rhythms we call Taalam. Since the subtle space enclosed within our bodies is part of the universal space, the inherent rhythm should be the same, but, in reality, it is very rare to find an individual with inner rhythm equal to that of the universe. If the individual rhythm is in tune with universal rhythm, the individual is said to be in commune with the universal Being and enjoying spiritual growth, peace and bliss. Now the question is how is this Taalam or rhythm applied to the architecture of a building? In architecture Time-measure is taken as Space measure. We have already introduced the fact that a building is a living organism by virtue of enclosing the energetic space and also the vibrations that it is capable of generating from within. When the building becomes the living space for an individual or family, the order attributed to the universal space should be established within the built space. Since this order or rhythm is a numerical measure - I would call it an architectural octave - the architect, with the knowledge of the science and application of this octave, designs the building with respect to it. In this way the occupants are facilitated in living in harmony with universal rhythm. (We'll get into specifics soon.) The Taalam, as measured or derived from the space (paramanu: the most subtle form of manifest universe), is said to be the standard or universal measure applicable to all private and public spaces. One Taalam measures six angulas and from this Taala measure is evolved the hasta measure of 24 angulas. This hasta is also called "the carpenter's scale". One hasta is equivalent to 33 inches. Application of Taalam to the human body: The universal octave is identified in the human form as follows: the face length is one taalam, the torso is 3 taalam, the thigh is 2 taalam and the lower leg is 2 taalam. Certain parts of the body are not taken into account: hair to top of scull, neck, kneecap and foot. Each of these parts is measured as 1/4 taalam. This gives a total of one more taalam which, when added to the eight already measured gives the body a height of 9 tallam. This measure is called "Navataalam" and the eight taalam height is called "Ashtataalam". These two measures are considered to be basic, the eight height conforming to the octaval measure of spiritual taalam. The significance of the "navataalam" is that those minor parts of the body are all links provided for mobility of the human body. The Vaastu science says that in the transformation of the human body from subtle to gross, there exists no difference in quantity and quality, though physically the eight units change into nine and superficially look different. The ashtataalam is treated as the subtle measure and the navataalam as gross measure. The architectural octave is the Vastu Purusha Mandala. The Manduka Vastu Purusha Mandala Has the layout of 8 x 8 = 64 units. This energy grid or luminous grid is the picture of the Ultimate - the unitary atom -

going into a split or explosion for manifestation in the pattern of 8 x 8 units. This atom is the ultimate visual manifest form of Brahman. Brahmin is the ultimate rhythm. It is the rhythm of Brahmin that we pattern for the design of the building.

Lesson 10 -- Orientation of Buildings and Cities


From my discussions with Dr. V. Ganapati Sthapati and an article written by him on the topic of Orientation. Copyright Dr. V. Ganapati Sthapati, January 1997 Orientation is an important aspect of building design. Orientation is the act of positioning the building or city with respect to the cardinal directions: north, south, east and west. Vaastu science attaches great importance to the basic line of demarcation by which the sphere of the Earth gets separated into upper and lower hemispheres. This line of demarcation is called the equator where the Earth is not only closer to the sun but also at a right angle to its axis. This horizontal line running east-west is called "suddhaprachee" meaning true east. The lines drawn perpendicular to this true east-west line are true north and true south. These are the four basic directions commonly know as cardinal directions. These lines are considered as lines emanating from the center of the Earth. These directional lines are also conduits by which the energy concentrated at the center of the Earth flows out and spreads over the surface. The lines form an energy grid over the whole Earth. They are also lines of absorption of solar, lunar and stellar energies. (Remember the Earth is a living being) All planets including the Earth are suspended or soaked in the ocean of space, which is the source of energy that sustains all embodied energies including human beings. This is the vital energy that Vaastu science is keeping in mind when it formulates rules and codes for designing buildings. The Vaastu designer uses the Vaastu Purusha Mandala as the basic pattern for the layout of the building or city. If this grid plan of the mandala is oriented to the cardinal directions of the earthly grid then the plan of the structure is said to lie exactly over the earthly grid. This establishes a kind of geometric congruency or harmony with the earthly energy grid. If there is any distortion, deviation or deflection in the grid lines of the building from the Earth's grid lines, then the built space is said to be in disharmony with the Earth's energy grid. If the respective grids are in alignment then the Earth and structure respond to each other in terms of energy spaces. This is proper orientation. This is a vital element of design technology in Vaastu science. Please remember that we are wedded to the Earth and perennially exposed to the energy fuming out of it. To be in harmony with Earth's nature is of paramount importance. If we live contrary to this natural law, we cannot escape the negative effects. We mentioned "true east" or Suddha prachee. There is another east called "Esaprachee" which is a line deflected toward the north of the east point. Certain benefits are attributed to these two east lines. True east is most suitable for temples, factories and other public institutions and the deflected east is said to be good for dwelling places. (I have to confirm the degree of deflection with Sthapati, but it is only one or two degrees) The cardinal directions are determined, in the Vaastu tradition, from the shadow cast on a level ground on which a circle is drawn and a gnomon (a tall, slender, cone shaped object) erected at the center. The shadows cast on the ground touch the periphery of the circle, one in the morning and another in the evening. The points touching the rim are called "bindus", the joining of which will turn into a straight line indicating the direction at a particular day of the month which would be brought to true east by corrections with respect to the month under examination. On the true east-west line, a perpendicular line is drawn to arrive at the north-south direction. Orientation is a simple but vital aspect of Vaastu design.

Lesson 11 -- Yonis - The eight Directions


From discussions with and writings by Ganapati Sthapati Copyright Ganapati Sthapati January 1997

In the technology of Indian architecture we find the use of the term "Yoni". Every material object or built space has its own directions with respect to the Sun, namely East, South-East, South, South-West, West, North-West, North and North-East. These directional points are denoted by certain symbols signifying specific qualities. They are respectively called, from East to North-East, Dwajam (flagstaff), Dhumam (smoke), Simham (lion), Svanam (dog), Vrushabham (bull), Kharam (ass), Gajam (elephant), Kakam (crow). They are called "yonis". In this science of Vaastu it is held that from Microcosm to Macrocosm the qualities or properties inherent are the same, just as a particle of gold possesses the same properties as that of a big block of gold. The smallest part of space-energy possesses the same quality as the biggest particle of space-energy called the universe or universal space. These qualities are said to reflect in buildings. If built according to Vaastu principles, they become microcosms with the positive qualities of these subtle energies. These directional lines are linear passages or conduits for the energy to flow from the energy center of the structure. These energy lines radiate from the center of the Brahmasthan in straight lines. It is evident that these directions are determined with respect to the Sun, which is a fixed point of energy in the vast space. The lines are present everywhere in the universe. In a true sense, there is no direction at all. The directions come into existence the minute the space becomes embodied and faces the Sun. The directional lines start from the center of the building and sprout in the eight directions. These energies sustain all material forms. These directional lines are the lifelines of a built space. In the technological field, the Vaastu Vedins calculate the dimensions, particularly the peripheral measure, of the building. This calculation is not arbitrary, but is done with respect to the wavelength of the individual or individuals occupying the space. They have a mathematical formula to calculate the wavelength, which is made up of "points" or "particles" or "units". Added to that they also calculate various other qualities of the built space and one of these is the Yoni quality. The architect makes a choice of a measure suited to the

occupants. The age of the building is also calculated (how long it will live). Remember that the building is a living organism and it vibrates and behaves like a human being. It is designed to possess qualities inherent in the human organism. The word "yoni" literally means the genital organ of a female being through which descends a material form called the infant. The infant comes from a particle of space that undergoes metamorphosis into an embodied form by virtue of the constructive energy emanating from the soil of the mother. There are two ways for energy to flow, one of entry and one of exit in a straight line, in between there is a process of form generation. This concept is incorporated in the design of a building signified by the entrance door opening and an opening at the back being in a straight line. This allows the energies lying inside and outside to move in and out without obstruction. It is the backbone of the structure. It is called "vamsa dandam" literally meaning "backbone or "bamboo pole". It is also know as "Brahma dandam" meaning "thread of Spirit". We will discuss how to calculate the Yoni quality of the structure in a later lesson.

Lesson 12 - Selecting a Building Site


From lectures and interviews of Ganapati Sthapati Copyright V. Ganapati Sthapati January 1998 The technology of Vaastu architecture lays enormous emphasis on the selection of the building site for human habitation. Vastu science looks upon the Earth as a living organism with its origin in the primordial energy. The Vaastu Shastras address the energy contained in the Earth as "Vaastu Purusha" where "Purusha" means the subtle energy that permeates the Earth and "Vaastu " is the material body of the Earth that evolved out of that energy. In abstraction "Purusha" is but a subtle substance "Vastu" or essence of the subtle universe which, in other words, means "universal consciousness". Earth is a conscious living being suspended in space and existing as an extension of the universal being. Earth is evoked and poojas are offered to it before excavation for construction. This is called "vaastu Shanti" or the "appeasement" of Earth. A prayer is made to the Earth before starting the earthwork: "O Mother Earth! May you fill the plot with your energy and make it fertile. May you bless us with wealth and prosperity. I bow to thee!" All animate objects including human beings are tied to the Earth, with no scope for escape, and therefore, they should try to live in harmony with its subtle and physical qualities. This is an emotional integration that the Vaastu science establishes between man and Earth and finally between man and the built space. The built space is created by man in accordance with a formula by which the Universal Being has created the material objects of nature. This integration is indispensable for peaceful life on Earth and in built environments. How is this kind of emotional integration (ecological friendliness) achieved? There are two streams of approach. One is gross and the other is subtle. The subtle approach to emotional integration has to do with the harmonizing of the building energy frequency with that of the Earth's energy frequency. This involves a mathematical process called the Ayadi calculations. On the gross side, the Vaastu texts prescribe a set of physical but significant tests for selecting a good site in view of the fact that the physical properties of the Earth are not uniform throughout its surface. Various forces of the material universe affect the Earth and the Earth affects the bodies present on it. Also, the study of the contour of the land and the flora and fauna present is a concern to the vaastu designer. The color, texture, odor and taste of the soil are another set of considerations. A site where water is found at the depth of a "man's height with upraised arms" is know as "Purushanjali matra" and is said to be good for human habitation. Water flow underneath the land should be in a clockwise direction, along with the motion of the Earth. A way to test for this is to dig a pit three feet deep, fill it with water, throw flowers on the surface and watch whether they move in a clockwise direction. While defining the physical characteristics of a good soil and site one of the Vaastu texts says: "The soil of the habitable ground should be soft and close grained (hard and well consolidated) and be overgrown with fragrant flowers, creepers and shrubs. Further it should be of good odor, spacious in extent and of even level. Also with sub-soil water flowing in clockwise direction. " The evenness of grains and compactness of the soil are tested by digging a pit of 3 hastas (8'-3" x 8'-3" x 8'-3") and refilling the pit with the excavated soil. The soil is good if a part of the earth remains after refill, bad if there is insufficient soil to refill the pit and fair if no earth is left over after refilling. The fertility of the soil is verified though a test because it is a reflection of the fertility and prosperity available to human life inhabiting the land. This is ascertained by sowing seeds on the site and observing the duration of germination, ranging form three to seven days.

There is a very sensitive test for ascertaining the quality of the ambience prevailing in the particular area to be taken over for residential purposes. For this test, a certain number of cows and calves along with bulls are left free on the site, over grown with seedlings and saplings, to graze. The purpose is to ascertain the sensitivity of the soil conducive to procreational tendencies of human beings. If the bulls raise affectionate and alluring sounds and run towards the cows to mate with them, this is good. This is considered to be a very good sign. It foretells affectionate and intimate relationship between master and mistress of the house to be built on that site. The spiritual ambience that prevails in the area accounts for such behavioral overtones. Vaastu designers adopt a practical way of identifying the quality of the building site from the very sight of the vegetation that grows there. If the leaves are thick, green and of dense growth, the soil is considered to be the best one for human habitation. Such a feature ensures the presence of water underneath and on that account the fertility of the soil is recognized. Living near big factories that pollute the air is objected to by the Shastras. Even the factories of the shilpis were kept away from the towns or cities in the olden days. Also, temple complexes are recommended to be located in far flung areas such as mountain tops, forests, riverbanks or seashores. Marshy lands, slushy sites, clayey soils are disallowed by the Shastras. No improvement of defective soil or site is recommended in the shastras. Outright rejection is advised. This is because such an improvement would be partial and of a temporary nature and not a permanent solution. Lands containing skulls of animals and human beings, broken stones, tiles, scraps of iron, nails spikes, hair, husks, charred wood or charcoal, white ants (termites?), serpents, rats and frogs are stoutly objected to. They are considered to be cancerous. This aspect of keeping the earth free from impurities is covered very elaborately by Vaastu sciences under the title "Bhugarbha". The concept in this context is that the life-long association with bad earth is harmful to physical and spiritual well being. The natural lie of the ground is also to be studied. This aspect is known as "declivity of the ground" or "plavanam". In general, the ground with its southern and western parts raised and inclined respectively towards north and east is recommended. This ensures the flow of underground water in the clockwise direction throughout the year. This trait is noticeable in the temple buildings with the water chute directed either to the north or to the east. Wells should only be in the Northeast quarter or corner of the site. The energy starts moving from this point of northeast of an enclosed space. It is common that every building, village or town should be enclosed by a compound wall to be vibrant. The walls form the cup that contains the energy. Every plot of land that is demarcated into a habitable Vaastu moves clockwise with its axis situated at the center of the built space. This axis, though invisible to the physical eyes does exist, just as there also runs a thread of consciousness in the human body from the center of the skull, down below and between the legs, which is called Brahma Sutra. This thread of consciousness is also established very consciously in a house built according to Vaastu principles. This thread or plumb of consciousness introduced in a built space ensures not only stability, but also mobility (growth) of the energy enclosed and it is expended to the dwellers to experience harmony and develop physically and spiritually. Slope of land: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. West elevated - sloping towards the east: promotes material growth and prosperity. South elevated - sloping to north: brings in wealth East elevated - sloping towards west: loss of wealth North elevated - sloping towards south: loss of inhabitants Northeast elevated - sloping towards southwest is bad. Southeast elevated - sloping towards northwest is good. Northwest elevated - sloping towards southeast is bad. Southwest elevated - sloping towards northeast is good. South east and east elevated - west and northwest are low-lying is good for human beings South and Southeast elevated - north and northwest low lying brings name and fame in all activities. Southwest and south elevated - north and northeast low-lying, the family of the indweller will multiply

and be long lived. Added to this such a plot is blessed with long life. 12. West and southwest elevated - northeast and east low-lying brings welfare and comfort to the occupant. 13. West and northwest high - east and southeast low, is said to create commotion and enmity. 14. North and northwest high - south and southeast low creates disease. 15. North and northeast high - low from south to southwest leads to annihilation. 16. East to northeast elevated - west to southwest low-lying causes decay of family. There is a sloka in a text called Vaastu Vidya, which can be memorized by practitioners: The plot with its East side high -- death of children South east high -- brings in wealth Southeast low -- loss of wealth South high -- free from illness South west high -- brings in wealth West high -- blessed with progeny North west high -- loss of property North high -- generates disease North east high -- excessive grief There is also an indication of high or low ground with respect to profession. For individuals involved in physical labor--declivity on the west, commercial activities -- declivity on the South, political leaders and rulers -- declivity on the East, intellectuals and professionals -- declivity on the North. There is a general description of an ideal building plot in the Mayamata and Mansara for human and Divine habitation. Brahmarishi Maya recommends a square or rectangular plot. (I have seen Sthapati take an irregular plot and create a square plot within it, defining it with a fence and letting the rest of the odd shaped area be just left over for landscaping only.) The ground should have rise on the West or South side. The sound of the ground, when tapped with an instrument (a spade or pickaxe) should be that of a horse, elephant, bamboo, veena (stringed instrument), sea or dundubi (percussion instrument). The land should have the odor of lotus or padiri flowers or grains or cows. Land possessing the colors white, red, yellow, black or gray, tastes such as bitter, acrid, astringent, saline, sour or sweet, such a site brings in wealth and prosperity. Land possessing the smell of curd, ghee, honey, oil, blood, corpse, fish or birds are rejected due to negative effects on the health. Water should be reached at a depth of 7'-6". The location of the building should not be close to public institutions or monasteries, temples or palaces. Sites where thorny trees grow should be avoided. Graveyards should be avoided. Shapes of the building site to be avoided are circular, triangular, polygonal with irregular sides, serpentine, curved like the back of a tortoise, ground with rise in the center, shapes of bird, fish, drum, willow, conch, chameleon, lizard, monkey, pig, python, chisel, pickaxe or cat. Location of a building at a place not easily accessible or at the junction of 2, 3 or 4 roads, or opposite to a road (perpendicular) should be avoided. Places with heavy and giant trees should not be selected. In general, it is indeed the spirit that favorably responds to order in the material world. Spirit is order

incarnate. The Vaastu Vedins call it "Vaastu Dharma". Anything disorderly is alien to its nature. Perpetual association with any kind of disorder is rejected and thus physical disturbances avoided. The selection of a site surrounded by a healthy environment of physical and spiritual nature is the keynote of Vaastu technology.

Lesson 13 - Trees and plants around the building


Copyright V. Ganapati Sthapati, January 1998 All animate objects, including human beings, which live on Earth (and the Earth itself), have a common source called "Space" or "Akasha". They germinate from space and return to it ultimately, losing their individual identities. Man, being part of gross nature, has to live in company and in harmony with all as his own kith and kin and near and dear ones. Man's association with animals and birds is inevitable and of deep significance. There are other living organisms, growing upward while remaining fixed to the ground, such as trees, plants and shrubs, with which man and other animates are surrounded. We are dependent on these for comfortable life and healthy growth. We derive enormous benefits from them. Large reservoirs of water such as lakes and tanks and ponds and rivers and seas are also a perennial source of food and energy for earthly existence. Forest, hills and valleys also exert enormous influence on our life. Apart from this we have to adjust to seasonal variations and inclement weather and the influence of the sun, moon and planets. Objects of nature both subtle and gross are directly connected to our physical existence on Earth. The shilpi-rishis of yore studied the qualities of such gross nature, their positive and negative impact on physical life and carved a natural habitat on the Earth for man to live in. The Vaastu Shastras, while providing facilities for physical comforts of man in such habitats, aim deeper at linking human life with subtle energies prevailing within the built environment and outside of it. The traditional science and technology of Vaastu Vedic origin creates a kind of micro-universe on the Earth after the pattern of the macro-universe with all the physical and spiritual properties packed into it. This is the miro-abode or Chitrambalam that the Indian science has blessed humans with. The impact of subtle space on human psyche is the most important of all effects of nature on human existence. Let us look at the green vegetation that grows on the Earth and their impact on human life. In the Southern India tradition, against the backdrop of local climatic conditions, specific mention has been made in the shastras about the species of trees and plants to be avoided or encouraged around the dwelling places. If they are found to exist already on the building plot, there are certain modes of disposal or adjustments in the positioning of the main building just to ward off harmful effects. The following are trees not desirable in the context of habitational space. It should not be forgotten that these trees and plants are useful in different contexts, though negative in the context of having them near human dwellings. Agathi Peepal Palmyra (Palm) Mahilam Jambolana Wood apple Eichi Country fig tree (udumbara) Tamarind Elandai(Bhritree) Silk-Cotton Purasu (portia) Amla Erukku Cotton Plant

Banyan The following are permitted to be grown around the residential area: Tengu Jack fruit Plantain Kamugu Pomegranade Grapes Neem Lime Mullai Datu Mathulai Malligai Tulasi Kondrai Pavala Malligai Mango Narthai Panneer (flower tree) The traditional sentiment has been to avoid existence of Banyan, Peepal, Tamarind and Udumbara trees near residential areas. At the same time, certain exceptions are in texts and actual practice. Milk trees like udumbara are allowed on the south, fruit trees on the east and trees with water content and to nissara type (trees without hard core) on the west. Certain other shastras attribute harmful effects in the case of milk trees (causes economic poverty), plantain trees (fear from enemies) and fruit yielding trees (harmful effects on human system). Such trees, if they need to be planted, should be away at least 100 feet. Their roots are not good for health. Some shastras name locations that are permitted for milk tree and Kondrai (on the east), thorny plants (on the south) Plantain (on the west) and fruit trees (on the north). There are trees and plants that secrete either milky juice or oily juice when scratched. The former is called "female" and the latter is called "male". There are trees that do not yield either, not even water. These are said to be neuter. The neuter trees do not yield either flower or fruit with no scope for progeny. The neuter ones have to be identified and rejected at all costs. Certain species of tender grasses are permitted: darba, munja and arukampul. Inside the enclosure wall it is very important to have the proper influence from plants. Trees such as banyan, peepal and fig (Athi and Eithi) are undesirable near dwelling places but are to be held sacred in temple complexes. Trees such as Banyan and Peepal, with their wide spread branches, offer shelter for travelers and pedestrians. Banyan and Peepal are held as "Jnana vrikshas", trees of knowledge. With regard to their occurrence in nature, peepal should not be on the east, banyan should not be on the west, athi should not be on the north and athi should not be on the south. The negative effects that they would cause on the human nervous system and the locality as a whole are specified in the shastras. Trees on which insects, worms, honeybees, bumble bees, owls, or serpents rest or multiply should be avoided around dwelling areas. Lemon and "narthai" of citrous group are allowed on the inside of the house plot. Sweet smelling flower plants and creepers are allowed and also plants with medicinal property.

Lesson 14 -- Vaastu design process


Copyright Michael Borden, November 1999 Now I will go through a typical design process for a residence, I am assuming that the designer has taken care of all site considerations. The first thing I do is look over the needs of the homeowner in terms of size and type of space. The aim of this is to come up with a square footage of house needed. Once this is determined a basic perimeter is laid out that responds to the square footage requirements. For example, if the square footage needed is 3000, I might start out with a 50' by 50' or a 60' x 40' building perimeter (or 45' x45' or something like that). This area is that of the Vaastu Purusha Mandala ("VPM"). I create less square footage than needed for the overall project because I will need more later when I create spaces for the bathrooms, stairs and building extensions. Using that perimeter I do a quick room layout to see if it is realistic. The VPM should house the Brahmasthan in the center 9 squares, the Master Bedroom and the kitchen at the very least. Ideally the kitchen is in the southeast, the master bedroom is on the southwest, the dining is in the west center, and a prayer or meditation room is in the northeast. The function at the corners is most important to honor. These corners are the very powerful. The Space energy flows into the Brahmasthan at the center and out diagonally to the four corners. The northwest corner is traditionally for storage of drygoods, but in the west we don't really function with that kind of storage very much. I have used it for a library, a bedroom, or even a living room or family room. Also, ideally it's best to leave the 16 modules surrounding the Brahmasthan for circulation through the building and have the rooms only in the outer two rings of the VPM. At this point most designers start to freak out at all the square footage given to an empty space at the center and an arcade around it. Ask yourself if you are bothered by all the room taken up by the heart, lungs and circulation system of the body and then remember that the structure you are creating is a living being, with required energetic needs for good health. As much as possible put bathrooms and stairs outside the VPM. They have disturbing energetic effects. Once the VPM has been laid down then you can add to the house with wings for room extensions and bathrooms and stairs. The maximum width to length is 1 to 2. For example if your house is 30 feet wide then the maximum length is 60 feet. If you want the house longer there is a solution: you can create a gap of one module or a multiple of a module or even a fraction (1/2, 3/4). At that gap the house should be open to the sky directly or though generous skylights. On the other side of this gap you can add more building, but honor the energy grid layout. I always make the gap a full module or multiple of one because then I don't have to deal with the question of how to align new section with the existing energy grid. This is a point I haven't been able to clear up, so I keep it simple and use what I know works with the energy grid. Once you have justified the square footage with the programmatic requirements of the building you must then "adjust" the building vibrationally to the owner of the house. This is done by adjusting the perimeter of the of the VPM, not the whole building perimeter, just that of the VPM, the 81 piece square or rectangular grid of the "mother structure" as Sthapati puts it. The perimeter of the VPM dictates the frequency of the house and that frequency must be harmonious with the owner. Actually, Sthapati recommends giving first preference of harmonic resonance to the mistress of the house (if there is one) because she is the master of the home. The designer tries to find a frequency that works for all the occupants or is at least neutral for the others. In my experience it has been always possible to find a solution that works for the whole family, but it can effect the size of the house one way or another. This frequency adjustment also effects the door and window sizes and even the furniture. It is done with mathematical formulas called "Ayadi" calculations.

Quoting Ganapati Sthapati: "Astrology, the applied astronomy, takes into account, primarily and basically, the 'time' of birth and predicts the present and the future. It cannot change the course of events in a man's life, as he has to live in the atmosphere of the gross world. In the case of Vaastu technology, man is put up in a different ambience where he is freed from worldly tensions and miseries. To a large account, it changes the fate of man, relieves him from earthly tensions and gives him longer life. It moulds his character, behavior and the very way of life on Earth. This 'time' of birth is 'absolute time' according to Vaastu science. Hence we say 'absolute time creates life.' The calculation of age starts with 'o' time which grows into day, months and years. This is the work of the speed or force of inherent energy on human form and psyche in the making. This 'time' is very important in the Vaastu technology and there is one important factor of difference between the processes of astrology and that of Vaastu technology. The astrologer cannot anticipate or fix the time of the birth of a baby at his discretion. He cannot propone or postpone the time of birth in order to enable the child to have a birth under a favorable star. We escape saying it is fate. An astrologer's role rather amounts to what may be called 'post birth predictions'. The in the calculations that the designers does in the birth of a 'living organism' called 'building' this formula is reversed. The 'birth' of a building is predetermined with respect to the wavelength of the individuals who would be occupying the built space. It is the association or coexistence with this space that mitigates or reverses the fate of the individuals living in it, within the bounds of the broad law of Nature, of course. Such a benefit to man is made possible by the 'ayadi ganana'. I do not like to name this part of Vaastu technology as astrology but instead call it cosmology, as it is concerned with the structure and its effects. "There are two important and significant terminologies integrated in the word 'ayadi'. Normally, the word 'ayadi' is split into 'aya' and 'adi' meaning 'income' and 'etcetera' respectively. Aya also means length. Aya is also denoted by the word 'aayaamam', a terminology for 'length' or 'stretch'. But, the word 'aya' has another import namely, 'source', as in the name of 'Adi shakti' meaning source of power. Also the word 'ay' means 'to search for' or 'to probe'. So, 'Ayadi' means not only 'income etc.' but also 'to search for the source'. There are six aspects to be examined under the 'ayadi', they are 'aya', 'vyaya', 'yoni', 'vara', 'nakshatra' and 'amsa'. Each aspect is called 'varga', meaning group, and so it is called 'Ayadi Shad Varga'. 1. 2. 3. 4. 5. 6. Aya --income, benefits, linear measure (ayama) Vyaya -- expenditure Yoni -- direction indicating flow of energy, Prana Vara -- week Nakshatra -- star Amsa -- quality, feature

All these aspects of a building to be established have to be identified weighed and beneficial points incorporated in the design to the best advantage of the intended dweller of the space.

Questions & Answers


Copyright 2003, Michael Borden, all rights reserved.

Note: These are all (unsorted) questions emailed to me by students who were taking a course I taught several years ago
Question Do Northern & Southern India agree on what constitutes the Sthapatya Vedic literature or is there some disagreement? Is it generally (all over India) agreed that Vastu Science originated in Southern India? Answer In answer to this question I will give you the transcription of a recent conversation I had with Sthapati. (After an initial question or two he did all the talking!) "The four Vedas are not independent Vedas. They are all collected materials. That's why we call it 'collected' Vedas. Rig Veda Sanghita(spelling, sorry) , the word 'sanghita' means 'collected'. So there was Vedic knowledge in the pre-Vedic period. Because of deluge (earth changing floods and continental drift) it was separated. The old knowledge got dissipated. Later on, before the second deluge occurred, all these were collected and codified. Codified in what is called the four Vedas now. While codifying a lot of things were there but they were not able to understand because these things were scientific. All scientific things were dropped! Non-scientific and religious things they collected and codified for the four Vedas. So whatever scientific material from those days they didn't keep. "Even today there are some scholars that say that Vastu Science is pseudo-science. They aren't able to understand the science of it. And these things don't exist in the Vedas. Some statements here or there will occur. For instance, there is a statement in the Veda 'The greatness of sculpture lies in its being scientific.' But no one has interpreted how sculpture is scientific, no one has said so far. "All the technical material is held by a group of people: the Sthapatis. That is why it is called Sthapatya Veda. So we fought with the Brahmans in the early days saying, 'We are the superior people. We have got this kind of knowledge. Please get away!' At that time we were very powerful. Nobody came close to us. Now we are very small. minority. Today they say, 'You have got technical knowledge but we have got the wisdom.' We say 'Where is your wisdom? How do you use it?' "The Brahmins say they came from outside India by the Kyber Pass some 3500 years ago. From the north they migrated south. About 2500 years ago they settled here in the south. So they learned all these things. Only during that period were they able to collect this material for the Vedas. Even today northerners come to the south, stay here, learn the culture here, and then go back. And if you go toward the north, you find the strong culture that is pervading South India is very much diluted. All the Shastras, all the Vedas, all the science, everything, existed only here in the South. We are responsible for Indian culture. To be frank, we should call it Vaastu culture. Even the Gods are Vaastu Gods. Even today if they want a temple they have to come to us. The Brahmins learned from us. There are not four castes but five castes, just as there are five elements. The Brahmins are the head, the Kshatria are the shoulders, the Viashas are the belly the Shudras are the legs and thighs and the Shilpis are the hands. There is a saying, 'From nail to engine'. The Shilpi's made everything. Question Did the shilpis used to conduct the temple rituals? The ancient rituals were originally very simple. Merely prayer to God. Not these kinds of rituals: putting dress, ornament and festivals. All these did not take place in ancient period, There was contact between God and man. Not an intermediary. Student comment Air, fire and water elements are all contained in space, therefore for each of these

elements we do only Shiva Linga. Space Linga, Water Linga, Air Linga, Fire Linga. It's because these are ingredients of Space. This course has given me a deep appreciation of Space. I was quite moved by the description of Chidanbaram and the significance of the space within (before it contained the deity). That space...that inner core of silence. You can almost see the whole story of the loss of knowledge in them sticking that statue in Chidanbaram... Wow. Question What is the purpose of building a temple? For material prosperity? Kind of wakes you up, doesn't it? Throws me right back to that line in the Yoga Sutras about the danger of getting caught up with the celestials because they aren't enlightened... God in form is of no use in getting enlightened. God in form is caught up in the drama of Maya, too. Answer If you want spiritual prosperity you have the temple face south. Question Is it my imagination, or is this a completely new take on why South isn't a great direction for a building to face? And with Yama in the South there, is there an important connection between Yama and Moksha? Answer We build temples not for attaining moksha, but attaining only physical, material comforts. Student comment That is why he is not turned towards true east. He is deflected towards north. Question So, the spiritual effects of a building facing true east & one facing south-in-general are identical or only similar? Are the effects of the directions the same for secular buildings as temples or are there some differences? Answer If the consciousness of some great identity is stimulating the action of, for example, a spiral galaxy that would indicate that each form indicates a state of consciousness. In otherworlds, the form is an expression of a state of consciousness. Question What about Ashrams? Has there been a tradition of ashrams being built according to Vaastu Science? Answer In India many people think they know about vaastu. They do basic things as a matter of course, like wells in the northeast. It's superstition to them. They really don't know beans about it and most don't care. Question I was trying to get a feel for how the guru tradition views Sthapatya Veda. The religious community seems to feel it is important- you said all the temples are built with Sthapatis. I was wondering if the gurus in general thought it was superstitions or made use of it regularly. Does Ganapati think it is possible to do this just by following the rules or does he feel that the shipin needs to be highly evolved in order to create genuine spiritual bliss with his designs? Answer My impression: Life is life. it has it's ups and downs, like Krishna says in the Gita to Arjuna. Shilpins doing their dharma is deep founded living for them. They don't talke about enlightenment; their work is their meditation and thus their life is. No evolution is necessary. Just dedication to one's art. The "rules" are the design parameters of God. Question I would still like to know Ganapati's take on this. My own sense is that JUST following the rules does not create 'high art'. An exceptional individual could 'meditate' this way but that for the vast majority it is not enough. Question Can a residence have a basement? Answer The ideal condition is to have the entire house directly connected to the ground, no crawl space, no basement. This allows the energy of the Earth to directly radiate into the house. This energy is very good for health.

Question Yes, when the weather is warm. But what about when it is very cold? What about insulation? A friend built a house with no insulation under the floor and I can remember his floors getting wet in the summer here because of the condensation. Answer He doesn't advise residences to have basements. Sthapati said that there is a yogic custom in India to sleep on the floor or ground if one is sick and the Earth energies will be conducive to healing. Comment Same in the Native American tradition. Grandmother Twylah, Matriarch of the Seneca Wolf Clan and an awesome person in terms of clarity of consciousness, healed herself of paralysis this way.

Question In a warm climate with a long growing season where all you store are things like spices, beans & grains because fruits & veggies are available all year, it makes sense to have your storage on the main floor on the north side. But in climates like ours, where storing vegetable crops is a necessity if you need or want to eat local produce all year round, you want a root cellar under the house. What does Sthapati say about design differences between warm & cold climates? I mean, there must be differences between the buildings of Southern India and the ones up in the Himalayas, no? Does any part of India with people living in it have significant snow? Have you been there to see the buildings?

Answer All temples, even the deities, because they are not the absolute Brahman, they have attributes, are deflected so we can make use of that attribute available. Question What about the Chidanbaram temple that was designed to have pure space inside? Deflected? If not, what effect has adding the statue had? Question What about ASHRAMS? Has there been a tradition of ashrams being built according to Vaastu Science? Comment I understand that Maharishi's ashram in Rishikesh has a south entrance still very much in use... Also, FYI, I made inquiries and the Movement is still quite firm about using identical room placements north and south of the equator. It's driving the people in NZ nuts because it really does not make sense to them. Question How did the 8 directions get the names flagstaff, smoke, lion, dog, bull, etc. and what is their significance? Question You said in Lesson 2A that the shipins' lifework was to communicate spiritual bliss and truth... does Ganapati think it is possible to do this just by following the rules or does he feel that the shipin needs to be highly evolved in order to create genuine spiritual bliss with his designs? Are the shipins as a group dedicated to regular meditation and pursuing their own enlightenment? Question How do the walls of a closet line up with the grid lines? Do they have to be right on like the walls of the rooms or do they line up like the windows (you try to center them between the grid lines)? If you have a closet running the whole length of a room. do you measure the room dimensions from the front wall (door side) of the closet or the back wall of the closet? Answer Ideally, the closet walls should be on grid lines like all other walls. That's what I do. If you want to compromise then split the grid pattern into 3rds or 9ths and lay out the walls on those secondary grid lines. It's acceptable, but I wouldn't make a habit out of it. I don't understand the second part of the question.

The room size doesn't matter as long as you stick to the grid lines. Comments and Questions from participants: (and some answers) (p.s.- I have to go back to China for a week I will continue when I return, MB) Exterior door placement is very important. WHY are the 9 placements 'allowable' and not others? or, What makes these positions particularly suitable for doors? Answer: The energetics of the laws of nature at that point in the mandala are life enhancing. When you cross that threshold, op[en that door it stimulates that point, it energizes it and the effect comes into the house. I still have to get the particulars on each position, I've been trying for this for 2 years, wish me luck! Is there some special reason why the only central position is on the north? Answer: Energetics, as stated above Is there some special significance to there being 9 possibilities? Answer: Probably, but I don't know what it is, I'll ask. I also notice that the only allowable entries that line up on opposite sides of the house are for one pair of doors- one on the S & one on the N. It does not seem allowable to have a door exactly opposite the East entrance. Is there an interesting reason for this? Answer: Actually you can have "secondary" doors in any position. The primary door location is for the special points on the mandala. BUT, just to be safe, I only put doors in those positive areas. You must have a window (or some kind of light opening) opposite the main entrance on the opposite side of the house. ............. I hope you are still intending to pursue that business about the deflection and the tilt of the Earth. I am SO intrigued by that one! Next layout the VPM on your paper. Walls go on the grid lines. You can lay them on center of line or on either side symmetrical with the center of the VPM. So, this is all or nothing, right? Either ALL the walls are laid out on the grid lines or ALL the walls are laid out outside the grid lines but not some of one and some of the other? Answer: yes. correct. The grid of the VPM extends out over the whole site. Anything you construct on the site should be laid out with respect to that grid, in other words, on the grid lines. How important is it for property lines to be on the grid lines? Does one consider this when placing the house on the site? And WHY (is it important or not important)? Is Southern India flat? Answer: Property lines aren't that important. You create the vaastu compound and what's left over is landscaped. Southern India has all kinds of terrain. It's best to place the windows and doors in the gaps between the vastu lines in a wall, centered. Is there any importance to having a window centered in the room? Or using windows to create a symmetrical look on the outside?

Answer: Symmetry is preferred, but not dictated. windows can be anywhere in the room, A very important point about exterior door placement is the location of a window or door exactly opposite the main entry door. A city friend remarked that it makes it a lot easier for crooks to case the house when you can see from one end to the other like that. Answer: I was just in a temple town called Kanchipuram today. It is an ancient city and very traditional life still goes on there. as we drove through the streets I looked into the houses and I could see the straight line through the house most of the time. Amazing. Don't worry about the crooks, they'll stay away because of the coherent vides of the house. This is line of sight or light placement and allows the energy to flow through the house unrestricted. This word 'energy' has been jumping out at me all course. One part of me wants to assign some subtle, mysterious 'something' that I can't perceive yet to it. But that feels ungrounded. Another part of me wants to assign 'light' (as in ordinary light) and air (as in ordinary breezes) to it. Which feels more grounded. And then I ask myself "could it really be THAT simple and ordinary?" And I am confused. Interestingly enough, Feng Shui takes just the opposite view (from what I remember). They want the 'energy'/'qi' to meander through the house, not dash right through. So they AVOID placing openings (windows and doors) opposite each other. They also don't like houses placed on hilltops because of too much qi/energy movement. I can't help but think that this is because of the relative temperatures. Southern India cherishes its breezes but China, being colder, needs to break them up. Answer: the "energy" is what you feel when you recognize your own vital existence. When you ignite with enthusiasm: this is life energy, you don't need sleep or food, it's the subtle energy that is actually the basis of our existence and is vibrant in and around us and we either plug into it or sound in for it or we create blocks or shields against it in our bodies, minds, hearts or houses. It's the energy we feel when we go into the presence of a being who is radiant with it and not blocking. These buildings, like the temples in Kanchipuram today are vibrant, big time, with energy. I walk through them with my bare feet and I can feel them very distinctly. and when I sit to meditate after being there for a while, I'm still vibrating at that finer, higher frequency. It's a very concrete experience. Go to the Indian temple in St. Louis and hang out there for half a day, just sit in the building, read or look or meditate (not necessary) and then go out and sit in your car and meditate and see what you feel. It takes some time to effect the nervous system. The houses in Fairfield I can't speak for in this way. The VPM should house the Brahmasthan in the center 9 squares, etc. How does this map out if you have one of those open to the side(s) exterior courtyards (the house is "L" shaped or "U" shaped) ? Is part of the house outside the VPM? Is part of the VPM on the lawn? Are there many houses in India with enclosed Brahmasthans? Have you seen any? What do they DO with all that interior space? I mean, they do use the exterior courtyards when they have them... The maximum width to length is 1 to 2. Very interesting. This is what I have read from the energy efficiency people as well. In very cold climates, square is best because it exposes the least surface to the outside and so holds the heat. More moderate regions (including Iowa) can go more rectangular but never more that 1 : 2. If you want the house longer there is a solution: you can create a gap of one module or a multiple of a

module or even a fraction (1/2, 3/4). At that gap the house should be open to the sky directly or though generous skylights. Sounds suspiciously like a ventilation thing for a hot climate to me. : ) Next layout the VPM on your paper. Walls go on the grid lines. You can lay them on center of line or on either side symmetrical with the center of the VPM. So, this is all or nothing, right? Either ALL the walls are laid out on the grid lines or ALL the walls are laid out outside the grid lines but not some of one and some of the other? The grid of the VPM extends out over the whole site. Anything you construct on the site should be laid out with respect to that grid, in other words, on the grid lines. It's best to place the windows and doors in the gaps between the vastu lines in a wall, centered. Is there any importance to having a window centered in the room? Or using windows to create a symmetrical look on the outside? A very important point about exterior door placement is the location of a >window or door exactly opposite the main entry door. A city friend remarked that it makes it a lot easier for crooks to case the house when you can see from one end to the other like that. This is line of sight or light placement and allows the energy to flow through the house unrestricted. This word 'energy' has been jumping out at me all course. One part of me wants to assign some subtle, mysterious 'something' that I can't perceive yet to it. But that feels ungrounded. Another part of me wants to assign 'light' (as in ordinary light) and air (as in ordinary breezes) to it. Which feels more grounded. And then I ask myself "could it really be THAT simple and ordinary?" And I am confused. Interestingly enough, Feng Shui takes just the opposite view (from what I remember). They want the 'energy'/'qi' to meander through the house, not dash right through. So they AVOID placing openings (windows and doors) opposite each other. They also don't like houses placed on hilltops because of too much qi/energy movement. I can't help but think that this is because of the relative temperatures. Southern India cherishes its breezes but China, being colder, needs to break them up. Some questions and comments: 1. Why is it that South and Southeast Asians go for these huge, oversized statues? Some huge ones are being built in Bali. They are very UN-harmonious. ANSWER: I don't know! My impression is that bigger is better with them. I am visiting the equivalent of India's Statue of Liberty this week. Ganapati Sthapati designed and built it out of stone. It's on a rock off the coast of southern tip of India. By the way do you object to the Statue of Liberty? I found it inspiring. 2. You mentioned an article in Sedona Journal. Would you be willing to give me the citation so I can order a copy at the library? ANSWER: I think it was the June or July issue. I don't have it with me, sorry. 3. Has any Westerner seen these documents? Would it be permissible to translate them? (From my studies in Bali, I know that such treatises are usually carefully guarded.) If so, it may be possible to get someone a grant to do that.

ANSWER:The documents on Vastu Science are all available: Vastu Shastra, Mayamata, works by Mansara. They are a tough read though. 4. RE: slope of the site. My experience is that auspicious slopes and orientations tend to be somewhat local. I.e., sloping down to the east or north makes sense for the region where you are studying. In Bali, whose architectural theories are quite similar, it's best to slope south and west. Would you be willing to ask your teacher about slopes for his temple in the Mid-west? ANSWER: We'll get to this 5. Soil tests...can you try to get some specific soil information, such as percentage clay, silt, or sand? (You could do this by putting some good soil in a jar, filling the rest of the jar with water, shaking it, letting it settle, then measuring the proportions of kind of soil.) Or what is the feeling to be looking for with the soil tests? ANSWER: coming soon 6. re: energy grid. (This is exciting to me, because much of the Vastu science fits in with my dowsing/geomancy studies.) Does your teacher recommend putting a structure BETWEEN major energy grid lines on ON them? (Is there a difference for temples versus houses?) I understand they should line up or be one degree off, regardless. ANSWER; be patient 7. Should we always build parallel/perpendicular to the cardinal N-S-E-W for the site? Or do these grids sometimes vary from the cardinal directions? ANSWER: Always on the cardinal points with one refinement we'll get to 8. How about during construction? I recently located a house BETWEEN some energy lines, with about one meter space around the building. The construction process has been protracted and painful, so I am worried that the energy lines are being hampered by construction. Does your teacher have any experience or advice here? ANSWERE: What energy lines are you referring to? 9. I was so happy to read the story of the genesis of the mandala. It is used in Bali, too, with the head also to the Northeast. IS it possible to get a picture of the mandala that your teacher uses? Either as an attachment or by fax. (I would be willing to pay!) ANSWER: When we get there anyone who wants to pay for the FAX can have a copy. 10. I was interested to read about the direct path for light in the house--the backbone. In Bali that line is always stopped by a little screen, for it is said that evil spirits travel in straight paths. This screen protects inhabitants. I would be very curious to hear your teacher's thoughts on this example. ANSWER: I'll ASK 11. I am not understanding how you get the modules for the plan. If you work backwards from the height I see how you get 3'-6". Do you just use that module, then for the floor plan? ANSWER: Coming later 12. How is the mandala subdivided if it's an 8x8 grid? ANSWER: ditto

more student comments and questions, I have time to answer now but later it may be more delayed. Ahhh! It's evening and it just started raining. What a blessed relief from the heaviness of the humid heat! Just the east door should be used most by the master and Mistress of the house. This sounds good. I like the idea of the East entrance....but not for guests if it is near the kitchen. I have a strong preference for guests to enter the living room first and for the kitchen to be quite remote from the front door. The important thing to remember is that we will be responding to time honored and tested patterns that are based on energy distribution and type . Life style preferences are fine , and feeling level is important but try to remain open to the knowledge that will come through on this. Actually, I have found northern light to be a blessing during the Iowa summer. Theoretically this makes sense to me but it is not the response of my heart in actual activity. I like the North for meditating, sleeping, and bodywork (where I want the recipient to go into a meditative state and where I must be very receptive and meditative myself). But during the day, it is the South that brings me joy and keeps me in tune with the path of the sun (daily & seasonal) thus making the passage of time a concrete, experiential reality for me. East is great at dawn but distinctly loses it's appeal later in the morning. West brings the gentle relief & sweetness of the sunset at the end of the day but is not so fascinating for the rest of it. A good southern exposure will keep you in direct touch with the path of the sun dawn through sunset for the majority of the year. North feels more indirect and somewhat cut off from that. It's just personal preferences and it's good to feel and live with them. It is possible that this sensitivity is the sign of some great imbalance in my system. Let's hope not I have also never lived in a hot climate so I don't know how it would seem to me there. A cool rain is good "Fencing a plot with acceptable proportions is also important. is because when vast land is limited by boundary lines it takes a form. That is, formless takes a form. As soon as a form is created, the quality flows or it assumes a quality." If it is rectangular the long side is to be oriented on the north/south axis. This makes no sense to me for Iowa and has been a major Sthapatya veda concern for all the other ecologically oriented people I know. Solar gain dictates that the long end of a rectangular house face south. This is an engineering decision. "The long axis of a solar home should run east to west, presenting as much surface area to the sun as possible... If the home faces true south, you will get the maximum solar benefit, but as you rotate your home off true south the solar benefit is reduced...the reduction in solar benefit increases exponentially as you rotate the home's orientation away from true south." "Ideally, the north side of the site will provide a windbreak, with evergreen trees and a protective hillside. These natural features will protect the home from the harsher northerly winds and weather. Deciduous trees on the E,S & W will shade the home in summer, yet drop their leaves in winter, allowing sunlight to reach the home." The Passive Solar House, James Kachadorian This makes orienting the long side on the N/S axis sound seriously hot-climate biased to me. When I see

these homes in Iowa I wonder what "Laws of Nature" we are talking about getting in tune with. Surely there should be a direct connection between working with the Devic levels and the climate they produce locally, yes? (This is a VERY HUGE question for me.) I have found that there is plenty of opportunity for solar gain in a square or rectangular (N/S biased) house. There is much energy that comes in from the east and west as well as the south. The solar guys can toy with fanaticism at times. But look who's talking!! Yikes, I'm actually getting rain on my computer screen!!!! About cupolas, I see them in Iowa- but always on barns (where venting interior heat is a problem all year round for enclosed livestock) but not on homes (where venting interior heat is only a problem in the summer. I am not fully knowledgeable about this. I have never lived with one. But this observation has caused me to question their practicality here on a physical level. I'll ask about cupolas. I'm pretty sure they have something to do with crowning the building. Luminous space you say is filled with luminous substance (vastu) consisting of Paramanus which are square and cubical. According to the writings of Alice Bailey (A Treatise on the Seven Rays, vol. III, p. 479) I quote "the present pattern of squares is the major construction of the web of light which is called the etheric body of the planet. The effort on earth today (as seen by the Planetary Logos) is to bring about a transformation of the web of the planet and thus slowly change the existing squares into triangles." I understand that this may be a difficult concept to grasp, yet it makes me wonder about the paramanu concept and how it fits in with the square to triangle transformation mentioned above. Does it you? Have you any thoughts on this? Do Northern & Southern India agree on what constitutes the Sthapatya vedic literature or is there some disagreement? Is it generally (all over India) agreed that Vastu Science originated in Southern India? 9-12-99 In answer to this question I will give you the transcription of a recent conversation I had with Sthapati. (After an initial question or two he did all the talking!) "The four Vedas are not independent Vedas. They are all collected materials. That's why we call it 'collected' Vedas. Rig Veda Sanghita(spelling, sorry) , the word 'sanghita' means 'collected'. So there was Vedic knowledge in the pre-Vedic period. Because of deluge (earth changing floods and continental drift) it was separated. The old knowledge got dissipated . Later on, before the second deluge occurred, all these were collected and codified. Codified in what is called the four Vedas now. While codifying a lot of things were there but they were not able to understand because these things were scientific. All scientific things were dropped! Non-scientific and religious things they collected and codified for the four Vedas. So whatever scientific material from those days they didn't keep. "Even today there are some scholars that say that Vastu Science is pseudo-science. They aren't able to understand the science of it. And these things don't exist in the Vedas. Some statements here or there will occur. For instance, there is a statement in the Veda 'The greatness of sculpture lies in its being scientific.' But no one has interpreted how sculpture is scientific, no one has said so far. "All the technical material is held by a group of people: the Sthapatis. That is why it is called Sthapatya Veda. So we fought with the Brahmans in the early days saying, 'We are the superior people. We have got this kind of knowledge. Please get away!' At that time we were very powerful. Nobody came close to us. Now we are very small. Minority. Today they say, 'You have got technical knowledge but we have got the wisdom.' We say 'Where is your wisdom? How do you use it?' "The Brahmins say they came from outside India by the Kyber Pass some 3500 years ago. From the north they migrated south. About 2500 years ago they settled here in the south. So they learned all these things. Only during that period were they able to collect this material for the Vedas. Even today northerners come to the south, stay here, learn the culture here, and then go back. And if you go toward the north, you find the strong culture that is pervading South India is very much diluted. All the Shastras, all the Vedas, all the science, everything, existed only here in the South. We are responsible for Indian culture. To be frank, we should call it Vaastu culture. Even the Gods are Vaastu Gods. Even today if they want a temple they have to come to us. The Brahmins learned from us. There are not four castes but five castes, just as there are five elements. The Brahmins are the head, the Kshatria are the shoulders, the Viashas are the belly the Shudras are the legs and thighs and the Shilpis are

the hands. There is a saying, 'From nail to engine'. The Shilpi's made everything. (Question: Did the shilpis used to conduct the temple rituals?) The ancient rituals were originally very simple. Merely prayer to God. Not these kind of rituals: putting dress, ornament and festivals. All these did not take place in ancient period, There was contact between God and man. Not an intermediary. Here are some questions from a student: Thanks for Lessons 9 & 10. Very interesting. Even mindboggling in some places. From Lesson 9: Car dust, sesame seeds, paddy grains & angulas (finger measures) do not sound very exacting to me. All these things come in a variety of sizes....which vary with humidity & temperature even. What kind of standards have actually been preserved- and how have they been preserved- in Vastu science to insure that everyone is using the very same measuring units? Or is relative proportion the only important thing here? Answer: The actual measure that the Sthapatis use is the Hasta of 2'-9" this is their basic unit of measure. Also the angula is the smallest unit they use as far as I have seen = 1 3/8". Relative proportion, rhythm is the most important. SThapati once said to me: one unit is one unit, whether it be one universe long or one inch, it's just a rhythmic measure. From Lesson 10: True East I can understand creating harmony. But deflected one or two degrees for dwellings seems more than a little odd. Wouldn't it sound 'off' in music to be just slightly off the beat? How does this little deflection work exactly? Answer: I'll ask as soon as I can. I didn't question this. Sthapati said that true east will have a very spiritual influence but is not as conducive for fostering material well being. You want to just meditate all the time and not live in the world. He said true east was for enlightened yogis. Do you know if Maharishi Sthapatya Veda is building according to the deflection? Jeffrey says he thinks they are right on true east. Answer: At Earl Kaplan's house we deflected the true east direction. Can't answer for the rest. And, speaking of dwellings- how many dwellings have you actually seen over in India that have been built according to Vastu Science? Are they old or more recent? Just for the Brahmins or for the wealthy or for all classes? Answer: Not many. I hear in Kerala there are some pure vaastu buildings. I'm going to try to get there. The buildings you do find are older. The new architects haven't been that interested or think they already know vaastu principle and they slaughter the building. Can't answer the last question. Mention was made in an earlier lesson that the Sthapatis build the temples (all of them? ) for the Brahmins. Have they also actually been building their houses, schools, and other secular buildings all along as well? Answer: All of the old temples were built by Sthapatis as far as I know. If you want a temple you go to a Sthapati. It's like if you want your tonsils out you go to a surgeon. Ganapati Sthapati has done many secular buildings and house according to vaastu. Some questions and comments: 1. Why is it that South and Southeast Asians go for these huge, oversized statues? Some huge ones are being built in Bali. They are very UN-harmonious. 2. You mentioned an article in SEdona JOurnal. Would you be willing to give me the citation so I can order a copy at the library?

3. Has any Westerner seen these documents? Would it be permissible to translate them? (From my studies in Bali, I know that such treatises are usually carefully guarded.) If so, it may be possible to get someone a grant to do that. 4. RE: slope of the site. My experience is that auspicious slopes and orientations tend to be somewhat local. I.e., sloping down to the east or north makes sense for the region where you are studying. In Bali, whose architectural theories are quite similar, it's best to slope south and west. Would you be willing to ask your teacher about slopes for his temple in the Mid-west? 5. Soil tests...can you try to get some specific soil information, such as percentage clay, silts, or sand? (You could do this by putting some good soil in a jar, filling the rest of the jar with water, shaking it, and letting it settle, then measuring the proportions of kind of soil.) Or what is the feeling to be looking for with the soil tests? 6. re: energy grid. (This is exciting to me, because much of the Vastu science fits in with my dowsing/geomancy studies.) Does your teacher recommend putting a structure BETWEEN major energy grid lines on ON them? (Is there a difference for temples versus houses?) I understand they should line up or be one degree off, regardless. 7. Should we always build parallel/perpendicular to the cardinal N-S-E-W for the site? Or do these grids sometimes vary from the cardinal directions? 8. How about during construction? I recently located a house BETWEEN some energy lines, with about one meter space around the building. The construction process has been protracted and painful, so I am worried that the energy lines are being hampered by construction. Does your teacher have any experience or advice here? 9. I was so happy to read the story of the genesis of the mandala. It is used in Bali, too, with the head also to the Northeast. IS it possible to get a picture of the mandala that your teacher uses? Either as an attachment or by fax. (I would be willing to pay!) 10. I was interested to read about the direct path for light in the house--the backbone. In Bali that line is always stopped by a little screen, for it is said that evil spirits travel in straight paths. This screen protects inhabitants. I would be very curious to hear your teacher's thoughts on this example. 11. I am not understanding how you get the modules for the plan. If you work backwards from the height I see how you get 3'-6". Do you just use that module, then for the floor plan? 12. How is the mandala subdivided if it's an 8x8 grid? IN KERALA (A STATE IN THE SOUTHWEST) THE STHAPATI'S NEVER MADE THE TRANSITION How fascinating! This transition business must have quite a story attached to it. Any details? DID YOU KNOW THAT IN THE SOUTHERN HEMISPHERE WHEN YOU FLUSH THE TOILET THE WATER SWIRLS IN THE OPPOSITE DIRECTION TO THE NORTHERN HEMISPHERE? ( OR SO I HAVE BEEN TOLD) Yes. This is true. Water swirls down drains in the opposite direction down under. I have eyewitness reports from several friends who have lived there. Regarding the VP mandalaDoes everyone agree on the arrangements of the devas in this or are there several versions? Would it be possible to get a list of all the devas of the VP Mandala and the associations/properties of each that give them their special importance for architecture? (I know this is a variation on a previous question but I thought to just add it to fill out all of what I want to know here.)

If room functions & door positions change south of the equator, I would assume the layout of the devas in the VP Mandala also changes? Could you ask Sthapati to say a little about this? THE SECULAR BUILDINGS CAN BE ROTATED 1 TO AS MUCH AS 10 DEGREES TOWARDS THE NORTH OFF OF TRUE EAST. THE INFLUENCE OF THIS IS MORE MATERIAL PROSPERITY. Is the amount of rotation within the 10 degrees totally arbitrary or are there guiding principles as to how much rotation for which type of person or situation or whatever? Who decides how much rotation there should be & how do they decide that? Exactly how does this rotation affect material prosperity? Does more rotation create a stronger effect? Does this rotation towards the north bring in more material prosperity automatically by virtue of simple vibrational attraction to material prosperity or does it create more desire in a person to actively work out in the world for their material prosperity? Or something else? Is there a little implied conflict here between personal spiritual development and personal material prosperity or is this just a life-style support difference between the recluse & householder ways of living? 1. You have explained that Shiva is the Mahadeva associated with the element of Akasha (space) and that sculptures of Shiva are (therefore?) made of metal; also that Vishnu is the Mahadeva of Earth element and his sculptures are made of stone. What are the Mahadevas associated with Air, Fire and water and what substances would be used to represent their energies in a building? Are there particular substances (i.e. materials) associated with all of the devas in the Vaastu Purusha Mandala, and should they be incorporated in a building? Can you give us a list of the energetics of these various Devas, to provide a better understanding of placements & functions according to the mandala? 2. I have heard that time is speeding up (at least on our planet) during this period (of transition). The Earth's magnetic field has also greatly decreased. Would these changes produce a change in a system of measurement based on "time" intervals? 3. I have seen that the square building layout can be elongated in a north-south direction, but I have yet to understand WHY it can be that way and not east-west. Is this to allow the first rays of the sun to permeate the full depth of the house east to west or is there a more esoteric (philosophical) reason? Could you please have Sthapati elaborate on this so we can understand the principles involved (obviously with reference to cold climates). Are the sun's rays malefic at mid-day even when providing warmth in the winter? Overhangs could keep them out in summer... 4. Since the disciples of Mayan went to various parts of the Earth, does this suggest that the Mesoamerican Mayan culture utilized the same constructs of design and building? 5. Is there a need or logic about placing a house in the center of the larger "fenced" or walled vaastu? Could it be anywhere within? What could be the layout for a small farm compound, for instance? Where would gardens and orchards are? Greenhouses? Guest houses? Storage to the NorthWest? In other words, how do these energetics move out from the house? Can there be a Brahmasthan of the site which is not of the house itself? I was very struck by the strong ecological bent of the material dealing with the 'gross' aspects of Sthapatya veda- putting the home in an area that has good soil, available water, etc. Planting suitable trees around the home, etc. Do you know if there is any interest in Permaculture in India? And if the ecology-types have had any comments on Sthapatya Veda? Does "Vaastu Purusha" ever have articles from bonafide ecology experts on these topics? Can one get back issues? Also, with the Native American Medicine Wheels- there is a connection between where the various forces of Nature are said to reside on the wheel (for example, the thunder beings in the West and purification forces

in the North) etc.) and how the people physically experienced the seasons, times of day and gross weather patterns (rain coming more often from the west than any other direction and the cold winds of winter which purify the land coming from the North). Can you ask SThapati (or maybe you know) if there is a similar connection between the seasons, times of the day, climactic & geographical facts of Southern India and the placement of the gods in the V P Mandala? If not, what IS his take on the rationale for how the gods come to reside in those particular placements in the VP Mandala? The south west corner of the plot is more sacred and durable. How come? "EARTH" (ELEMENT) ENERGY IN THE SOUTHWEST QUADRANT OF THE SITE. OK, I can 'get' the durable part. But what do we mean by 'more sacred'? Why should the Earth Element be more sacred than the other elements? Is it only considered more sacred with respect to the building arts or is it simply considered more sacred than all the other elements period? What is the purpose of the kalashes? Are the private sthapati-designed homes you are seeing in India equipped with these? The house is a being: feet, legs, torso, neck, head and top of head. Kalash is the top piece of the house. it completes the form. Yes kalashes are here on private houses, in many forms. Q. Is the perimeter taken before the exterior is added or after or to put it another way is the VPM perimeter calculation done first and then the exterior wall added? My instinct tells me before the exterior wall, however as you can see I am not sure on this. Answer: The perimeter of the VPM is the dimension that you do you calculations with. You adjust the perimeter of the VPM according to the Ayadi calculations for the individuals of the house. The exterior walls are best placed with their centerline on the VPM perimeter. The actual building perimeter will be different if you have extensions that expand outside the VPM (always with regard to the grid) but you only consider the VPM perimeter for Ayadi and that creates the final grid (and module) that spreads over the whole site. The VPM is the "mother"grid pattern for the whole site. Here's a new point that I came to in this last seminar. The Earth has an energy grid and the house has an energy grid. When we place the VPM grid based house on the Earth grid the house comes in congruence with the Earth's grid and the energy of the Earth floods into the house. The question for me was: How do you know if you are aligned with the Earth's grid, you can't see the grid? Sthapati would always answer by saying that as long as the orientation (North/south/east/west) is correct the resonance is spontaneous. What I have realized now (Sthapati hasn't said it in these words) is that the resonance occurs not because of a two dimensional congruent relationship between the house grid and the Earth grid (Sthapati said nothing 2d exists, only 3d can exist), but because of a 3 dimensional resonance: If you made a huge tuning fork, 6 feet tall, of the "C" note and a small tuning fork, 6 inches tall of the "C" note, they would still resonate with each other because their 3d geometry is the same (just different scale, Sthapati told me the numbers are the most important not scale, one universe or one grain of sand: one is one) The house vibrates with Earthly energy because of a 3 dimensional resonance: the VPM is not just a 2 dimensional grid it is a 3 dimensional object. Q. I have done a floor plan of a house on Cad. Can I send it to you for a critique?

Answer: Try to send it. I may not be able to download it. Can you FAX it. If so FAX it to USA number and I'll look at it when I get back (around Jan. 1) I'm traveling until then. 515-472-2157. Q. My module is 3'-6"x5'-5". I get 58 hastas. The remainder of 58 divided by 8/27 is 5. Would this make the house's birthstar Pooram? Answer: No. you move vertically down the chart. It would be Mrugasirsha (the Tamil word) I'll give you more info when I get a USA chart. Q. I cannot figure out the suitability of the tenant's birthstar with the house's Ayadi Nakshatra. This may be because the Paryaaya table came through with 1-9 only. 10-18 & 19-27 are blank. What are the rest? Answer: Coming soon, I'm VERY sorry, it must be frustrating to have partial knowledge. Q. How do you determine the birthstar of the tenants? Answer: I ask a Joytish consultant (Indian astrologer) to tell me the Lunar Nakshatra of the person. Soon I will offer this service. Q. When do you get back to the States? Answer : Dec. 19 , but traveling until Jan. 1, The south west corner of the plot is more sacred and durable. How come? EARTH" (ELEMENT) ENERGY IN THE SOUTHWEST QUADRANT OF THE SITE. OK, I can 'get' the durable part. But what do we mean by 'more sacred'? Why should the Earth Element be more sacred than the other elements? Is it only considered more sacred with respect to the building arts or is it simply considered more sacred than all the other elements period? did I answer this already? water in and out at northeast, electric in at southeast, gas: no ancient precedent so please yourself. I would bring it in at southeast if it's easy. MB Has Sthapati talked any about utilities and how they come into the building? Are they winding electrical wires and water pipes, etc. around the buildings there to get them coming in from specific directions? In rereading the article what did you mean by 'rhythm bound forms'? Rhythm bound forms are forms that are designed with mathematical sequences evident. The glue of coherence is the regular expressed rhythm of elements. The side of the module you use for height, if the module is rectangular, can be either, but I prefer the width to the length. See answers below: I have to get started in the Ayadi calculation for the house I am designing and I need to know what you need to find the lunar birth star of the occupants. Also need to know what you will charge for this service. As soon as I have tied down the perimeter calculation and fine tuned the plan I can send you the floor plan to critique. Which side of the module do I use for the height. I want to know if you think that software program is a good one and if you recommend I get it. I understand you are still recovering and wait to hear from you when it fits your schedule. Questions: 1. To repeat from 'Questions re: L 15' I should set the center of the exterior wall on the VPM perimeter.

EXTERIOR WALLS CAN BE ON CENTER LINE OF GRID PERIMETER OR INSIDE OR OUTSIDE, I PREFER CENTERLINE. This means I will have to increase the size of the module because I have already set the inside of the wall to the VPM perimeter if I do not want to decrease the inside dimensions any further. Is this correct? YES I understand that I may still need to adjust the perimeter once I know the occupant's birthstar and figure that in. 2. Does it matter what side of the VPM you use to determine the exterior wall thickness? NO. YOU CAN GO WITH STANDARD THICKNESS IF YOU LIKE. TRY TO MAKE THEM CLOSE TO 1/32 OR 1/64 BUT DON'T FRET ABOUT IT. TRY TO MAKE ALL THE WALLS THE SAME THICKNESS IF POSSIBLE, THIS IS BEST, OR AT LEAST THE EXTERIOR WALLS AND THE MAIN INTERIOR WALLS WHICH WOULD BE THE TIC TAC TOE GRID THAT DIVIDES THE MOTHER STRUCTURE INTO 9 EQUAL PARTS. 3. Re: exterior wall thickness still, If my module is say 3'-6" x 5'-5". What do you do with the fractions. Do you round off? What do you do when you are working with a material or wall system in which you do not have the flexibility of changing the width to meet the Ayadi requirements? DON'T WORRY ABOUT IT, IT'S NOT CRITICAL, IT'S A REFINEMENT THAT WOULD BE NICE TO USE BUT NOT NECESSARY. Question #1: How do you feel (and Dr. Ganapati) about the use of synthetic materials as an energy signature vibration in construction? VAASTU ARCHITECTURE FAVORS NATURAL MATERIALS: WOOD, STONE, CLAY/EARTH. THESE MATERIALS ARE MAGNETICALLY VIBRANT WITH THE EARTH ENERGY AND MAKE FOR A MORE ENERGETICALLY VIBRANT BUILDING, HOWEVER, THE GEOMETRY OF THE BUILDING IN PARAMOUNT AND MATERIALS CAN BE COMPROMISED TO AN EXTENT. I know from my own personal experiments and that of others (not in the construction fields) that surrounding the physical body with synthetic vapor barriers such as Styrofoam and plastic, lowers, sometimes dramatically, the energy field of the human body. This is demonstrable, many times, by just placing a plastic bag over the head (not the face) of an individual. This is scientifically measurable, using quite simple methods, such as kinesiology. GOOD IDEA, I'LLL CHECK IT OUT. I believe that this is because these synthetic materials block natural magnetic and cosmic radiation and e ner gy. If these materials have such a profound effect on the human structure, of substantially lowering the energy field (the amount of energy immediately available to the body), I am certain that it similarly affects any structure, which it surrounds. But I would like to get a balance of view from you and if possible from Dr. Ganapati, because the correct answer to this question in particular is one that is very important to me right now. Question #2: Some persons and builders (such as in the Green Building Assoc., which I strongly support, [I met and visited with Doug Seiter GIVE HIM A COPY OF MY LESSON ONE IF YOU CAN. the other day-great guy]) want to use only recycled lumber in building. I'VE HEARD IT'S BEST NOT TO USE MATERIALS FROM OLD BUILDINGS. THEY MAY CARRY THE VIBRATION OF THE PREVIOUS ENERGIES AND MAY NOT ALWAYS BE GOOD, ENERGETICALLY. This I don't

mind and support. What I don't like is recommendations to use prefabricated and pressed lumber products because of the toxic adhesives and their effects, which last for many years. MATERIALS WERE LESS IMPORTANT THAN THE GEOMETRY IN MY TRAINING, BUT I PERSONALLY FEEL THEY OFFER THE BUILDER AN OPPORTUNITY TO CREATE A MORE VIBRANTLY SOOTHING BUILDING. Also I believe, tentatively, that second growth harvestable, planned tree cutting in the correct environments, such as environmentally sound tree farms, is a part of sustainable agriculture. And natural wood is such a beautiful and highly energized material to include in our construction along with a wide variety of other natural building materials. YES I am totally opposed to the cutting of virgin and ancient timber. YES, OPPOSED, BUT IT IS POSSIBLE TO IMAGINE, UNDER CERTAIN CIRCUMSTANCES, CUTTING A TREE DOWN WITH HONOR AND USING IT TO BUILD A SACRED SPACE. How do you feel about these issues? I would like to get more balanced and intelligent perspectives and you give me the feeling having both. Also, the more valid information I can get on these subjects, the happier I am. I want you to know that I am never being controversial but desire to communicate, share and learn. Thanks. I totally agree about used lumber containing energy that may be negative. I, personally, believe that such lumber can be stacked properly in a sacred place (a blessed place) in the sun for 30 to 90 days and transmuted and purged of negative energies through prayer and meditation. This may not always be worthwhile and may not be nearly as applicable in India as in America where so much demolition is continually taking place. I wonder how traditional Vastu masters would work with this idea? I'VE ONLY HEARD IT'S BEST NO TO USE MATERIALS FROM OTHER BUILDINGS. STHAPATI IS VERY CLEAR ON THE POINT THAT EVEN WHEN YOU RENOVATE OR ADD TO AN EXISTING BUILIDNG (ESPESCIALLY A TEMPLE) THAT YOU ARE DISTURBING THE ENERGY OF THE BUILDING AND IT COULD BE EVEN DANGEROUS TO THE HEALTH OF THE PERSON INITIATING THE WORK. FOR EXAMPLE, AT A TEMPLE RENOVATION IT IS TYPICAL TO CHOOSE AN OLDER MEMBER OF THE TEMPLE COMMUNITY TO HEAD THE PROJECT BECAUSE THEY BELIEVE THEIR LIFE COULD BE ADVERSLY EFFECTED BY CAUSING THE DISTURBANCE OF THE TEMPLE ENERGY. I also believe that very few people on the planet are aware of another fact. That the manner, lack of universal awareness, and motivation (such as materialistic greed) in which molecules are forced together to form many synthetic materials actually creates intrinsic negative energies similar as an idea to the negative energies in used lumber. Except being intrinsic may be harder to transmute. I have a couple long time friends in the scientific community in New Zealand (CAN YOU PUT ME IN TOUCH WITHTHEM?) who have done extensive scientific testing along these lines, sometimes finding synthetic substances (I don't mean poisons, just synthetics commonly used in our daily lives) extremely negative in their effect on the human energy field. (Note: "ENERGY FIELD". An invaluable area of science which as yet receives little attention in the western world.) This varies widely, of course. Molecules are close to the basis of "life in form"and as such are very sacred. I believe that we (including especially the scientific community) need to become aware on a whole new level and honor the natural vibration and way in which the molecular level of consciousness naturally and harmoniously desires to dance and unite. Then we might begin to even create new substances, which would be of a very highenergy vibration. And like you have said to honor the Vaastu Vedic "form" which, I agree, seems to be a most important key to harmonious, living form. Well, I mustn't take any more of your time, right now. I am sharing ideas, which are an intrinsic part of my life. And I continually desire to learn more about each of them. Are you going to China to learn about their methods of sacred and energetic construction? (NO, I'M WORKING ON A LARGE FACTORY PROJECT ALL ACCORDING TO VAASTU PRINCIPLES) I want to be able to learn all I can! And would be happy to pay you in order to learn more even beyond this seminar. (IT'S POSSIBLE THAT I WILL HAVE A PHASE 2 OF LEARNING)

ARE YOU GOING TO FORM A VAASTU VEDIC FOUNDATION IN AMERICA? I WOULD TOTALLY SUPPORT THIS AND WOULD LIKE TO BE A PART OF IT FROM THE BEGINNING AND A LOYAL MEMBER. LET ME KNOW, PLEASE. I THINK THAT YOU SHOULD BE THE PRIMARY FOUNDER, WITH ALL YOUR WORK, EFFORTS, RESEARCH AND INTEGRITY, OF SUCH A MOVEMENT AND FOUNDATION. DOUG SEITER TOLD ME THAT WHAT YOU ARE DOING AND TEACHING (AND I AM BECOMING A PART OF) IS THE "FUTURE WAVE OF BUILDING IN AMERICA". VERY CLOSE TO HIS EXACT WORDS TO ME. HE SAID THAT "GREEN BUILDING IS LAYING THE FOUNDATION FOR THIS FUTURE WAVE". SOUNDS GREAT: YES, WE CAN HAVE A BRANCH OF THE FOUNDATION INTHE WEST, GOOD IDEA. comment from a seminar participant: I totally agree about used lumber containing energy that may be negative. I, personally, believe that such lumber can be stacked properly in a sacred place (a blessed place) in the sun for 30 to 90 days and transmuted and purged of negative energies through prayer and meditation. This may not always be worthwhile and may not be nearly as applicable in India as in America where so much demolition is continually taking place. I wonder how traditional Vastu masters would work with this idea? I also believe that very few people on the planet are aware of another fact. That the manner, lack of universal awareness, and motivation (such as materialistic greed) in which molecules are forced together to form many synthetic materials actually creates intrinsic negative energies similar as an idea to the negative energies in used lumber. Except being intrinsic may be harder to transmute. I have a couple long time friends in the scientific community in New Zealand who have done extensive scientific testing along these lines, sometimes finding synthetic substances (I don't mean poisons, just synthetics commonly used in our daily lives) extremely negative in their effect on the human energy field. (Note: "ENERGY FIELD". An invaluable area of science which as yet receives little attention in the western world.) This varies widely, of course. Molecules are close to the basis of "life in form"and as such are very sacred. I believe that we (including especially the scientific community) need to become aware on a whole new level and honor the natural vibration and way in which the molecular level of consciousness naturally and harmoniously desires to dance and unite. Then we might begin to even create new substances, which would be of a very highenergy vibration. And like you have said to honor the Vaastu Vedic "form" which, I agree, seems to be a most important key to harmonious, living form. Well, I mustn't take any more of your time, right now. I am sharing ideas, which are an intrinsic part of my life. And I continually desire to learn more about each of them. Are you going to China to learn about their methods of sacred and energetic construction? I want to be able to learn all I can! And would be happy to pay you in order to learn more even beyond this seminar. There are two questions that I would like to ask now. They do have to do with vastu theory to my mind, at least. So far, Vastu Vedic theory as you explain it makes perfect sense and I just swallow it up. It really stimulates my mind. Question #1: How do you feel (and Dr. Ganapati) about the use of synthetic materials as an energy signature vibration in construction? I know from my own personal experiments and that of others (not in the construction fields) that surrounding the physical body with synthetic vapor barriers such as Styrofoam and plastic, lowers, sometimes dramatically, the energy field of the human body. This is demonstrable, many times, by just placing a plastic bag over the head (not the face) of an individual. This is scientifically measurable, using quite simple methods, such as kinesiology. I believe that this is because these synthetic materials block natural magnetic and cosmic radiation and energy. If these materials have such a profound effect on the human structure, of substantially lowering the energy field (the amount of energy immediately available to the body), I am certain that it similarly affects any structure, which it surrounds. But I would like to get a balance of view from you and if possible from Dr. Ganapati, because the correct answer to this question in particular is one that is very important to me right now. Question #2: Some persons and builders (such as in the Green Building Assoc., which I strongly support, [I met and visited with Doug Seiter the other day-great guy]) want to use only recycled lumber in building. This I don't mind and support. What I don't like is recommendations to use prefabricated and pressed lumber products because of the toxic adhesives and their effects, which last for many years. Also I believe, tentatively, that second growth harvestable, planned tree cutting in the correct environments, such as environmentally sound tree farms, is a part of sustainable agriculture. And natural wood is such a beautiful and highly energized material to include in our construction along with a wide variety of other natural

building materials. I am totally opposed to the cutting of virgin and ancient timber. How do you feel about these issues? I would like to get more balanced and intelligent perspectives and you give me the feeling having both. Also, the more valid information I can get on these subjects, the happier I am. I. What do you do when the lunar star and the house star are the same? A perimeter measure resulted in 61 hastas. The house star classified as Bharani. 2. What does it mean when the remainder for an aspect is zero. 3. Can you give more information on the positive aspects, for example, what they represent in more detail. When asked if one could put a fountain or water fall or pond in the brahmasthan: Sthapati said it's best to have "no such fancies in the mother structure." The water can create energy disturbance, maybe positive maybe not, unpredictable for peacefulness of the home. For the residential bldgs Iyya was suggesting the western side as the most preferable one. About the placement of a fountain, Iyya has once said to avoid all such fancies within the mother grid but u could place it outside in an appropriate position taking care that it does not interfere with the energy flow, say for e.g. in alignment with a door opening.Have u heard him say a word called KUTTHU? If u know that, this is the thing that u should note while placing a water body. 1. To repeat from 'Questions re: L 15' I should set the center of the exterior wall on the VPM perimeter. This means I will have to increase the size of the module because I have already set the inside of the wall to the VPM perimeter if I do not want to decrease the inside dimensions any further. Is this correct? I understand that I may still need to adjust the perimeter once I know the occupant's birthstar and figure that in. 2. Does it matter what side of the VPM you use to determine the exterior wall thickness? 3. Re: exterior wall thickness still, If my module is say 3'-6" x 5'-5". What do you do with the fractions. Do you round off? What do you do when you are working with a material or wall system in which you do not have the flexibility of changing the width to meet the Ayadi requirements? I'm finding the space requirements to be very challenging. I really do not want a big house for just two people and a cat nor one that is over a story and a half high, but I do need at least one room that closes off for guests and bodywork and one for our bedroom that aren't tiny and cramped. I have not figured out how to do this yet. Anyhow, I find I don't understand the height business as well as I need to. When we talk about applying the grid (in a simple fraction portion of the length or breadth of the VPM) to the height of the house, I assume that means from the bottom floor of the house (basement if there is one? I know you don't consider this the ideal, but if there is a basement, is that what you consider the base of the house?) to the highest point/peak of the roof? Or to the top of the cupola, if there is one? Also, I have heard from my friend, Lori, who is building a SV house with Depak here in town that Depak does not consider that the basement (Lori is building a full basement) has to have a Brahmasthan in it because it is below ground. Does this ring any bells with you? Do you have any idea why the dining room would be placed in the West? I don't understand it from the point of practicality (having to carry food & dirty dishes all the way across the house to and from the kitchen) nor from the point of digestibility (agni being in the SE) I have QUESTIONS! 1. Must the height of a room or building always be a minimum of three modules? Like 3' modules, then at least 9' high? 5' modules=15' high? Or can height be figured in any other way, say, as in a large building, to avoid excessive height when it is undesirable? THE RULES FOR ELEVATION ARE MAINLY FOR TEMPLE STRUCTURES. I TAKE THE MODULE AND MAKE A CEILING HEIGHT OUT OF IT AND THEN FIND A ROOF HEIGHT WITH. THEN DIVIDE THE ELEVATION INTO 8 PARTS AND LAYOUT ELEMENTS ACCORDING TO THOSE LINES. THE "RULES" ARE NOT HARD AND FAST FOR RESIDENCES, UNLESS YU

WANT TO APPLY THEM AS PER TEMPLE BUILDINGS AND THEN YOU GET A VERY UNCONVENTIONAL BUILDING. 2. Is it best to keep ALL walls, including exterior walls centered over the grid lines? YES 3. Do you know what Dr. Ganapati Sthapati means by "REVERSE DANCE"? That is, there may be a valuable symbology here. I would like to know the actual, applicable meaning entailed. WHAT WAS THE CONTEXT? 4. Can the Deivika Padam (Celestial Realm) of the VPM be used as a walk way in a house, or should it be avoided for that purpose? WALK WAY IS APPROPRIATE. P.S. I have QUESTIONS! 1. Must the height of a room or building always be a minimum of three modules? Like 3' modules, then at least 9' high? 5' modules=15' high? Or can height be figured in any other way, say, as in a large building, to avoid excessive height when it is undesirable? THE RULES FOR ELEVATION ARE MAINLY FOR TEMPLE STRUCTURES. I TAKE THE MODULE AND MAKE A CEILING HEIGHT OUT OF IT AND THEN FIND A ROOF HEIGHT WITH. THEN DIVIDE THE ELEVATION INTO 8 PARTS AND LAYOUT ELEMENTS ACCORDING TO THOSE LINES. THE "RULES" ARE NOT HARD AND FAST FOR RESIDENCES, UNLESS YU WANT TO APPLY THEM AS PER TEMPLE BUILDINGS AND THEN YOU GET A VERY UNCONVENTIONAL BUILDING. (so can a ceiling of a home be one, two or three modules high?) YES 3. Do you know what Dr. Ganapati Sthapati means by "REVERSE DANCE"? That is, there may be a valuable symbology here. I would like to know the actual, applicable meaning entailed. WHAT WAS THE CONTEXT? (it is in the book, TEMPLES OF SPACE SCIENCE, concerning the cosmic dance of Lord Nataraja being clockwise [to the right] and then changing to the left [counterclockwise] in the Vastu Purusha Mandala. There seems to be a specific reason or science for this; but he didn't explain, in terms that I can understand, at least. I got the gist of it, somewhat; but felt a little confused as to the real and, especially, as to the practical application. You can not have your columns on the corners of that central module.What if you take the central 3 x 3 module of that 9 modules and place the columns there? "Mayan,The Vastu vijnani and originator of Vaastu tradition states in his Mayamata that it is space (akasha) itself that is known as linga and which dwells in all things. Are there 2 Mayans ie. 1. the architect for the demons as well as 2. the other name for Visvakarma, the architect for the devas? THERE WAS ONE HISTORICAL MAYAN. I THINK HE WAS CALLED VISVAKARMA AS AN HONORARY TERM. THAT'S MY IMPRESSION. He holds that the subtle existence or subtle energy which animates the entire range of things is "Vastu" and all those living beings and cosmic substances in which vastu gets itself installed are denoted by the term "Vaastu". So vaastu is vastu which has some grosser manifestation. But Vaastu Purusha is still a subtle energy, one that is personified but not visible to our gross senses until it gets expressed into material form? VASTU IS THE ABSOLUTE, THE SOURCE BEYOND THE SUBTLE UNIVERSE, THE INFINATE POTENTIAL. VAASTU IS THE EXPRESSION OF THE UNIVERSE. VASTU PURUSHA, I'LL GET BACK TO YOU ON THIS. I WANT TO ASK STHAAPTI. You mentioned consciousness is vastu. Vastu then is connected with the spiritual dimension. Is paramanu another name for paramatma, the Supreme Personality of Godhead present in every atom or is it that paramatma is present in paramanu? I MUST ASK STHAPATI THIS, BUT I WOULD SAY THAT PARAMATMA IS THAT THREAD OF CONCIOUSNESS AT THE CORE OF THE PARAMANU: THE BRAHMA SUTRA. In the heart cave of the body there is inner space and inside the inner-space there is the vibrant thread of consciousness. It is this thread of consciousness that functions as the string of sarira-vina (bodily instrument) (The structure vibrates with cosmic energy and the bodily Instrument resonates with this

vibration) To create and offer the house of supreme bliss, and to enable us to experience that supreme bliss here in this mundane house itself -- these are the prime motives of the Vaastu science. Mayan, the energetic Seer and Sage was the creator and the first formulator of this great order. Any connection with the Mayan civilization? STHAPATI SAYS THAT MAYAN'S DISCIPLES TRAVELED THE WORLD OVER AND INFLUENCED MANY OTHER CIVILIZATIONS. STHAPATI TRAVELED TO SOUTH AMERICA AND CENTRAL AMERICA AND DISCOVERED THAT THE SAME VAASTU PRINCIPLES WERE USED IN THE MAYAN CITIES THERE. How important is the Kalash, besides being traditional? I DON'T ALWAYS PUT THEM ON THE BUILDINGS, BUT, THEY ARE ALWAYS ON THE TEMPLES AND MY TEACHER WOULD RECOMMEND. IT'S THE PLACE WHERE THE HOUSE MEETS THE SKY, A SIGNIFICANT PLACE. THE COPPER KALASHES ARE NOT SO BIG AS THE MGC ONES. THEY DON'T STAND OUT THATMUCH. Would prefer not to have one. If we decide to use the upstairs bedroom (in the NE corner) as the mediation room, would there have to be any dimension changes? NO DIMENSION CHANGE Any recommendations for the location of the oil tank? I WOULDN'T PUT IT ON THE NORTH EAST OR DIRECTLY DIAGONAL TO ANY CORNER OR DIRECTLY OPPOSITE THE MIDDLE OF THE BUILDING IN ANY DIRECTION We are working on the duct work for the exhaust for the furnace (power vent). If we were to use forced hot air we need to place the ducts.We are going to need ducts for air conditioning anyway. Any ideas for these different ducts? TRY TO HAVE DUCTS NOT GO THROUGH THE BRAHMASTAN ON ANY LEVEL, IF POSSIBLE Also we plan on putting in a cistern to collect rainwater from the gutters for outside watering. Does that need a special location? NORTH EAST CORNER There is pump system involved that comes into the basement. Any recommendations for outside water spigots for hoses? NO , PUT THEM ANYWHERE.

Lesson 14 -- Drawing & Dimensioning the Mandala


Copyright Michael Borden, November 2004 Once the perimeter of the VPM is established to be correct for beneficial results to the occupants of the house by using the Ayadi calculations, then the designer creates the grid of the Mandala on the paper. The Mandala we prefer to use for a residence is the Parama Saayika Vaastu Mandala which is a 9 x 9 grid pattern. Odd numbered mandalas are best for residences: 1,3,5,7,9,11,13,15,17,19,21,23,25,27,29,31. The designer creates a 9 x 9 grid within the perimeter of the Mandala. For example: if the perimeter is 45 (north to south) by 36 (east to west), then the grid will be a set of 81 equal modules created by dividing the sides of the Mandala by 9 equally. The basic module of this proposed Mandala would be 5 x 4, 81 modules total. If the Mandala was 45 x 45 then the basic module would be 5 x 5. I have deliberately used these easily divided numbers for the examples. In reality, the designer usually starts out with such simple numbers, but in the process of applying the ayadi calculations the numbers can get somewhat challenging. This is because the dimensions of the Mandala are converted from English units to Vaastu units and then further influenced by the ayadi formulas. The final process of conversion to vaastu units and adjustment through ayadi formulas I do not explain in this introductory seminar. The reason for this is that it can be a complicated process and the responsibility of getting it clearly communicated to a student is daunting. If you wish to learn the process, Im happy to give it our on an individual tutorial basis as an advanced course.

(Right click to enlarge) I usually start out by drawing and dimensioning the Mandala as a 3 x 3 grid. So, for the 45 x 45 example, the major modules of the Mandala would be 9, 15 x 15 modules. The center 15 x 15 module is the Bramhastan. The SE corner module is the Fire energy location. The SW corner module is the Earth energy location. NW = Air energy. NE = Water energy. The lines in the 3 x 3 module are the major energy lines of the VPM. If possible, I place the major structural walls in relationship to these major lines. Ganapati Sthapatis house in Tamil Nadu is laid out almost entirely with respect to these major lines only. His house is not divided up into many rooms. It is a very simple plan and my conjecture is that the simple plan, laid out with respect to the major energy lines of the Mandala, creates the most pure resonance with earth and cosmic energies. The 9 x 9 grid represents the next level of mandalic energy lines. Minor walls are laid out with respect to these lines. In a modern western house, Im sometimes driven to use these lines also for major wall layouts.

There is one more level of energy line division I use. If you divide the VPM again by 3 you come to the 27 x 27 grid Mandala. This Mandala has 729 modules. If you take the 45 x 45 VPM we were using above the module would be 1-8. This Mandala is used in a floor plan that requires more complexity. Once you have established the Mandala diagram, then you can lay out the walls on this grid. Walls can be in relationship to the grid in the following ways: 1) centerline of wall on grid line, 2) either side of face of finished wall on grid line.

Dharma Sala Plan with Grid My preference is to keep all walls on centerline relationships with the grid. However, I have created projects where the inside face of wall of the exterior walls are aligned with the grid and the interior walls are centerline related. I feel its best to keep the major walls in the same kind of relationship to the grid. For example: if you have walls on the 3 x 3 grid (mentioned above) energy lines, try to keep them with the same relationship: all on centerline or if you are using face of wall relationship then keep it symmetrical with the Brahmastan. This means the south wall with be on the south side of the Brahmastan, the north wall will be on the north side of the Brahmastan, the west wall on the west side of the Brahmastan, etc. The idea is to create a symmetry in the plan. Dont have some exterior walls on centerline and some on face of wall. (There are some exceptions to this, but, for now, stick with this rule.) As you lay out the walls, keep in mind the following design goals:

1. Room functions should follow Vaastu principles: Kitchen in the Southeast, Master Bedroom or Offices in the Southwest, Meditation or prayer in the Northeast. Brahmastan in the center is supremely important and must be respected. (Keep all mechanical systems, pipes, ducts, wires, etc., out of the Brahmastan. Also, a natural light source such as skylights or clerestory or open to sky is required in the Brahmastan.) Dining is recommended in the middle west. A good area for women is in the east just next to southeast. Treasure in the north. In general, the corner areas are most critical for room function to be correct. The middle spaces are more free to use as needed, not including the Brahmastan. Try to keep the following out of the main body of the Mandala: bathrooms (or at least toilets) and stairs. (Stairs should have an odd number of risers and if they turn should turn clockwise going up.) A few comments: Its best if the Brahmastan is left open with nothing at least the center of it. I have seen people put fountains and plants and tables in the center of the Brahmastan. This is not correct. Brahmastan is for space energy at the heart of the house. Influences in the Brahmastan spread throughout the whole house. Its fine to walk through the center of the Brahmastan. It would be fine to have some furniture around the periphery of a large Brahmastan, but, it would not be recommended to sleep or work there or spend many hours there. The energy is too intense for long exposure.

Mandala Zones (Right click to enlarge) 2. Ideally, a walking space around the perimeter of the Brahmastan is recommended. In the 9 x 9 grid, the center 9 modules are the Brahmastan and the 16 modules surrounding the Brahmastan could be used for walking. (Many times, I have been unable to achieve this in floor plan designs because the clients could not accept so much space given over to these areas.) 3. One of my typical design strategies is to use pop outs. Pop outs are extensions to the floor plan outside the Mandala. The main Mandala or mother grid does not stop at the perimeter of the Mandala. It actually spreads over the whole site, energetically, once the house is placed on the ground. Pop outs, follow the grid pattern of the Mandala. See examples in this lesson for how this is achieved. These extensions can be on any side of the house, but in all cases the main corners of the mother grid should stay undisturbed. This means you cannot make an extension at a corner. Extensions must be at least one module from the Mandala corners. I try to put the toilets and stairs in these extensions and keep them out of the mother grid area.

Courtyard House with Grid 4. Orientation of the house is very important. For east and west facing houses, its best to rotate the structure counter-clockwise 2 degrees from true north relationship. For north and south facing houses, its best to rotate the structure clockwise 2 degrees from true north relationship. This rotation is a kind of energy management. Its dialing the energy of the house to a level that is conducive to constant human habitation. House front orientation influences: East = physical comfort, mental peace, West = material prosperity (big numbers), North = money, South = salvation, redemption, away from earthly worries.

VPM Doors (Right click to enlarge) 5. The front door location is very important. Depending on the orientation of the house the main entry location will be assigned. The front door should be the largest door in the house. Opposite the front door, on a direct line through the house, there should be a window or glazed door. Ideally, create a line of sight and light through the center of the house in both directions. See the diagram for door locations. 6. Garages: They could be to the south or north of a house. They can be attached as and extension or by a breezeway. Ideally, the garage is separate from the house and outside the vaastu perimeter wall.

Site with grid lines 7. Vaastu compound: The structure needs to be located within a walled area. The wall does not need to be high or solid. The vaastu compound gives more room on the north and east sides of the house. Layout the wall with respect to the mother grid as it extends out from the Mandala. So, the wall will be a certain amount of modules away from the structure. Again, centerline or face of wall relationship can be used, but keep it consistent. 8. Electricity coming into the house: southeast corner 9. Furnace: southeast corner 10. Dont put plumbing fixtures or fireplaces in the corners or on the diagonal lines of the Mandala. Fireplaces are ideal in the Southeast, but can be used in other areas with some review from an expert. 11. Water coming into the house: Northeast. 12. Waste water: Out the south side if possible.

Elevation with lines 13. Exterior elevation: This subject is a bit hard to discuss. In general, the Mandala of the house can be extended vertically. The module used can be something that is a 1/8 fraction of the floor plan module. In other words, the elevation is divided into 8 equal parts and the main elements are laid out with respect to these lines. See example.

Procedure for Auspicious Vaastu Ceremony


There are formal ceremonies that are conducted at particular phases of the construction, but they are in Tamil or Sanskrit, so they are not available to us except if we engage a Vaastu Pundit. My teacher, Ganapati Sthapati, has always encouraged me to conduct my own ceremony, telling me to use my own inner knowledge of what to do. We come from the heart with a good intention for the structure, which is to be an alive being, and also with respect for the Mother Earth upon which the home sits, rooted in Earth energies. The main purpose is to achieve a deep sense of identity with the Earth energy, the Mother Earth, with the Being of the house and with the blessing energies of the Masters of the knowledge of Vaastu Science. This is for the purpose of arousing these cosmic forces and directing them in a positive way for the project. A simple ceremony should be conducted at an auspicious time chosen by an Indian Astrological consultant. Usually, the time chosen is the time of the awakening of Vastu Purusha. Work beginning at this time will be completed without any impediment and the constructed building will yield prosperity, wealth and longevity. However, there are other criteria that may be considered by consulting the astrological expert. There are three times that should be considered for ceremonial respect and gratitude: 1. Ground breaking: this is the formal beginning of the project. Bring a shovel for digging a small hole as a token beginning. If possible, you can stake the perimeter of the building. At least locate the area of the North east corner of the main rectangle or square of the building. There place a clean cloth or mat so you can sit and meditate and say the prayer for the house. At the proper time have incense burning and have the fruit and flowers to lay on the northeast area as offerings to Vastu Purusha. 2. Foundation deposit: At the appropriate time, a foundation deposit can be placed for the house. This deposit consists of precious gems and metals. It should be placed so that it will not be disturbed during construction. Sometimes it is possible to do the groundbreaking and foundation deposit at the same time, but you must find a way to protect the deposit during the ongoing construction. Contact me for information on how to obtain this the foundation deposit items. 3. Move in ceremony: At the appointed time to move it, you can create a ceremony of gratitude to the house, the

Mother Earth, the Solar System, the Universal Energy that floods the house. You can bring flowers, incense and fruit. You can use your own words also, and these: Protector of the dwelling, recognize us: Be an excellent abode, the non-inflictor of disease. Whatever we ask of thee, be please to grant. Be the bestower of happiness on our bipeds and quadrupeds. Protector of the dwelling, be the preserver and augmenter of our wealth. Possessed of cattle and horses, Indra, may we, through Thy friendship, be exempt from decay: like a father to his sons, be favorable to us. Protector of the dwelling, may we be possessed of a comfortable, delightful, opulent abode bestowed by Thee. Protect our wealth, whether in possession or expectation and ever cherish us with blessings. Protector of the dwelling, remover of disease, assuming all kinds of forms, be to us a Friend: the Grantor of Happiness! Begin the digging or place the foundation deposit at this time and/or place the fruit and flowers on the northeast ground. Sit in silence a few minutes and then you are finished. This ends the On line Vaastu seminar. Your questions will be welcomed and answered as quickly as possible. I invite students to work with me on an individual basis for further studies. Please also review the questions and answers section.

Vaastu Design | Sacred Geometry


Sacred geometry is a fundamental ingredient of Vaastu Design. What is "sacred geometry"? Wise men over the ages have noted patterns in nature from the largest macrocosmic entities in the cosmos to the tiniest microscopic particles, invisible to the naked eye. You could call them laws of nature. These geometrical blueprints structure all of creation. Each pattern is an architypical foundation for objects in nature and each has unique vibrational resonances. Yet each part is intricately and wondrously tied to the whole of creation - to shape a reality of unity permeating all of diversity. Buildings are a living organism, like the human nervous system, and can be designed in "harmonic resonance" with the basic underlying energy structure of the universe. Vaastu design (also spelt vasthu and vastu) uses the fundamentals of sacred geometry to create structures for human beings which, due to their shape, size, orientation, and other factors, create health, wisdom, happiness, successfullness, security, and prospertity for their inhabitants - be they homeowners or business people. "Space is the fundamental source and energy for all things, for their origination and for their existence. This important scientific concept, the tradition of Vaastu has been holding with it from the Vedic period and, in fact, from the period even prior to Vedic times. It maintains that SPACE itself turns into spatial forms and it has its own mathematical order or dynamics for changing into aural and visual forms. In Indian civilization, all temples, sculptures, architectural constructions ... are the creations by shilpins of the tradition of Vaastu Science. Being born of this tradition, these creations render not only physical pleasure but also spiritual bliss and well being. This spiritual science ... moulds us and directs us to experience the inexplicable spiritual bliss by effecting a communion between its own artistic creations and spiritual consciousness." "Space is energy filled or energy stuffed. If this energetic space gets limited or enclosed by four walls then the building becomes a living organism, having rhythmic vibrancy. Like the inner space enclosed with-in our bodies, the house also feels and vibrates. This rhythmic vibration is made to resonate with our inner vibrations and by this resonance the indweller of the house is able to be in harmony and communion with the universal space (Paramatma) and to experience spiritual bliss.

-- Dr. Ganapati Sthapati

Sacred Geometry: Rectification of an existing structure


I have found nothing in the traditional texts on Vaastu architecture that documents a protocol for rectification of an existing structure. It may be there, but I have not seen it. My research has lead me to believe that Vaastu architecture principles were founded on the premise that one constructs a new structure that follows the geometric patterns of resonance with cosmic energies. Existing non-compliant structures are not addressed. However, because in modern times there is a demand to somehow apply Vaastu principles to existing structures, we have developed some protocols for rectification. The most important point to understand regarding rectification is that the results are not really predictable. In rectification, we take some of the basic principles of the science and "tweak" the building as best we can. The considerations for rectification are: Orientation of the building: buildings turned more that 10 degrees off the cardinal points of the compass may not be very responsive to rectification. Main door location. Room function and location. Geometry and mandalic frequency of the building with regard to the application of Ayadi calculation analysis. The creation of a Brahmastan at the center of the building. My latest idea for a solution to existing buildings is to either create a space within the house that has a perfect orientation and resonance for good influences, or create a small structure within the compound of the property that is a perfect with regard to Vaastu principles and rely on it to spread a positive influence. The rectification projects in which I have been involved seem to work, but the results are only anecdotal. Here are samples of possible approaches to rectification:

Recommended Reading
You can buy these books now at our Online Bookstore

World Architecture
An Architecture for People: The complete works of Hassan Fathy by James Steele A middle eastern architect, designer and builder of earth structures. Building with the Breath of Life by Tom Bender An excellent and in depth exploration of the sacred traditions of buildings. A Master Course in Feng-Shui by Eva Wong One of the best introductions and for the person who wants to practice this discipline. I highly recommend it. The Natural House Catalogue by David Pearson An excellent survey and resourse. Sacred Geometry by Robert Lawlor A step by step presentation to this subject. Silence Song and Shadows by Tom Bender An introduction to the possibility of structuring the sacred in our built environments.

The Building Architecture of Sthapatya Veda by Dr. V. Ganapati Sthapati The complete textbook on building architecture of Vaastu Shastra by the master. Thai Style by Luca Invernizzi Tettoni and William Warren Good examples of wood buildings that exhibit traditional plan solutions that suggest a relationship to the ancient knowledge of Vaastu science.

Alternative Building
Adobe and Rammed Earth Buildings by Paul Graham MacHenry This book is by one of the Southwests expert earth builders. I attended an earth building seminar by Mr. MacHenry. His spectrum of knowledge and dedication to earth building was very inspiring. The Rammed Earth House by David Easton Very informative. The Straw Bale House by Athena Swentzell Steen, Bikll Steen, David Bainbridge, David Eisenberg An excellent resource for knowledge on this type of building.

Sustainable Lifestyle
Country Wisdom by David Larkin A light read on the subjects of history, lore and practice of country living. Good pictures.

Green Architecture by Taschen An interesting world survey. Nature and the Idea of a Man-made World by Crowe "An Investigation into the Evolutionary Roots fo Form and Order in the Built Environment" Permaculture: A Designer's Manual by Bill Mollison The bible on this subject.

Vastu / Vedic Links


American University of Mayonic Science & Technology AUM is the best source for learning Vastu knowledge in the east or the west. Books on Vastu Design, Architecture, Vedic Literature Calculating magnetic declination to get true north Temple Pages Holy and spiritual wonders in Tamilnadu state and especially in Thanjavur district. Vastu (Vasthu shastra) European Institute for Vedic Studies: A portal to Vedic Wisdom Vastu (Vasthu) Indian Temple Home Page: The Ultimate Source of Information on Indian Temples World Monuments World Monument Fund Art for Vastu Contemporary Vastu art in Asian and Western styles; international gallery quality; online and on site consultations. Intbau.org Musical Theory and Ancient Cosmology Vedamsbooks.com AboutSoba.org Intentional Communities Amrita Veda - Ayurveda At Amrita Veda, Dr. Pankaj and Smita Naram provide the information and opportunity for people the world over to learn more about the Ayurvedic lifestyle and to embrace it. Hinduism Today Hinduism Today is a wonderful magazine focussed on a very balanced and comprehensive view of Hindu life and spirituality all over the world. Indian astrology (also known as jyotish, or vedic astrology) Home of Bharat Natyam (Temple Dance related to Vaastu Science) in USA Musical Theory and Ancient Cosmology Sacred Geometry World Puja Site Connecting the peoples of the world through meditation and prayer, live on the Internet. Sacred Spaces A complete online store featuring a large selection of books, music, videos and unique gifts. Sacred Sites Places of Peace and Power.