It was in the Nejjarine Museum of Wood Arts in Fès that the thought struck me. The chaos of the crumbling medina, the vibrancy of the souks, the noise, the pollution, the exploding energy of the colors, and the sheer quantity of stuff –
– is beautifully balanced by prevalence of the purposeful geometry, sacred geometry, everywhere.
That’s why Morocco is so enchanting.
Islam takes the prohibition of worshipping graven images seriously, and discourages figurative art. Like all of life, art should be dedicated to God, and God is only describable as essence. Geometry is essence.
Who can resist being centered by such design?
All my years of studying sacred geometry, beginning even before my Ganesh Baba days, and then Dan Winter and most deeply with Alice O. Howell, peaked at that moment in the museum. I stood at the center of a ideally proportioned room surrounded by mandalas, exquisite symmetry, perfect curves, rhythmic repetition, and profoundly satisfying rectangles and squares.
I wanted to take dozens of pictures, but photography was not allowed, so I was forced to confront the serene beauty of that room face on. It was transformative.
Since then I’ve consciously attuned myself to noticing and letting the geometry take me in.
Even contemporary Moroccan design uses the elements of sacred geometry to create beautiful calm spaces, as exemplified by our current Airbnb in the new part of Marrakech.