@MarvelousOldWorld: Antiqui-tech architectural magic Pythagorean Palaces

➡ Juan, a designer, shares his journey into creating wooden yurt homes. After losing his job due to the 2008 housing crash, he started designing and building his own roundhouse designs. These unique homes, which are more efficient and stronger than traditional houses, are made from prefabricated kits and can be assembled by any builder. Juan believes these homes are a great alternative, offering benefits like natural convection currents and resilience against natural disasters.
➡ The speaker discusses the decline in quality of construction materials and practices, noting that houses are now built with cheaper materials and are not designed to last. They also express concern about the environmental impact of these practices, including the use of genetically modified trees for lumber and the flammability of modern building materials. The speaker also shares their interest in the Electric Universe theory and the idea that old world buildings interacted with the ether. They mention their visit to Prague, where they were impressed by the intact old world architecture.
➡ The text discusses the intriguing history of Emperor Rudolph II’s fascination with alchemy and the underground lab, known as Alchemist Alley, where he and his alchemists would experiment. The author delves into the concept of Pythagorean palaces, which are buildings designed with specific geometric proportions to elevate consciousness. The author also explores the idea of interdimensional architecture, suggesting that buildings could resonate on different frequencies and dimensions. Lastly, the text suggests that ancient architects might have been trying to transform the world through their constructions, possibly using them as a form of record-keeping and spiritual invocation.
➡ The text discusses the idea of buildings influencing people’s consciousness and energy, with a focus on the design of modern houses and cities. It also explores the concept of ancient buildings, like cathedrals, being built with materials and designs that could manipulate energy and possibly elevate the spiritual state of the surrounding community. The text further delves into the idea of religion being used as a tool to control people’s access to divinity, and the potential for buildings and rituals to be used to manipulate subtle energy. Lastly, it touches on the theory that the Knights Templar may have used alchemical secrets to fund the construction of grand buildings.
➡ The speaker discusses various theories about ancient structures like the pyramids of Giza and the palaces of the world fairs. They question whether these structures were built by giants or by people with advanced knowledge from outside sources. They also discuss the idea of alchemy and interdimensional entities. The speaker doesn’t fully agree with these theories but appreciates the different perspectives they offer. They also mention the possibility that many old buildings in the United States and Canada may have been built earlier than history books suggest.
➡ The text discusses the history and mystery of American Romanesque architecture, questioning the credited creators and the true purpose of these grand, ornate buildings. It suggests that these structures may have been heated and powered by an ancient technology, possibly related to alchemy and the manipulation of frequencies. The text also delves into the idea of ‘occulted scaffolding’, where the original intentions of the creators are embedded into the structure, influencing those who interact with it. Lastly, it proposes that these buildings could be talismans or tools for directing energy and consciousness, potentially serving a purpose beyond their physical form.
➡ The speaker discusses the mystical and spiritual experiences they’ve had in old churches and cathedrals, suggesting that these buildings were designed with a higher purpose in mind. They mention the use of specific colors, materials, and architectural layouts to create a certain atmosphere, and how these elements might have been used in ceremonies or rituals. The speaker also talks about the potential significance of certain objects, like crowns and bells, and how they might be connected to ancient knowledge or practices. They suggest that these buildings might only be “active” during certain times or under specific conditions, hinting at a deeper, hidden meaning behind their design.
➡ The text discusses the idea that ancient civilizations might have used celestial alignments and specific frequencies to achieve extraordinary feats, possibly even disappearing from our reality. It suggests that structures like pyramids and cathedrals might have been activated by these alignments and frequencies. The text also mentions the possibility of contacting otherworldly entities and the importance of discernment when dealing with such concepts. It ends by questioning the true purpose of certain ancient structures, suggesting they might have been used for more than we currently understand.
➡ The text discusses the mystery and intrigue surrounding ancient structures, particularly the hieroglyphs and ‘nubs’ found on megalithic stones worldwide. The author suggests these features could be used for distributing electrical charge, hinting at advanced knowledge by ancient civilizations. The conversation also touches on the controversial theories of Tartaria and ancient aliens, and the importance of not getting lost in these theories but focusing on the amazing feats of construction. The text ends with a discussion on the symbolic and possibly alchemical significance of cathedrals, particularly the Notre Dame, and its recent secular remodel.
➡ The speaker discusses the history and mysteries surrounding the Statue of Liberty, suggesting it may have connections to alchemy and secret societies. They also mention the statue of Columbia from the Chicago World’s Fair, which was lost in a fire, sparking theories about its fate. The speaker questions the official timeline of the Statue of Liberty’s construction, suggesting the base may be older than claimed. The conversation ends with personal discussions about their children and plans for future discussions.

How’s it going, Juan? Doing all right. What’s up, man? Good. It’s good to meet you. Good to meet you. I was looking at your page. You do some pretty impressive work. Thank you. What. What got you into this sort of thing? Because this is. What’s the. You guys price this out by, like, square footage or what? Oh, we’re talking about my design work now. The roundhouse designs. Yeah. That’s a. What got me into that. Geez. Well, the housing crash of 2008 specifically got me into it because I was working for a small, custom residential architect, and that firm went under, and so I was back to driving around in a pickup truck with tools in the back and finding the odd remodel and stuff just to make ends meet.

And my wife and I, we got a piece of land out in this little town called Indianola across Puget Sound from Seattle. We just. We needed to get out of the city and just a third of an acre, and we were trying to figure out what to do, and we were thinking about putting up a canvas yurt. And I was talking to a neighbor, and they said, hey, you should check out these wooden yurts. And that was back in 2010. And I, you know, I was like, what is that? And sounded intriguing, and I went and ended up designing and then building my own house, which is what’s shown there in the background.

And that was, you know, that’s over ten years ago, and I’ve been doing it for a living ever since. Wow. Yes. Like, I’d never heard about this. I recently did an episode with. With Topher, and he does buildings, too, and he gets into the whole. The dome. Right. It’s all about the dome. And this is an oculus up here. Yeah, that’s actually what I call it. It’s a skylight. Yeah. I refer to it as the oculus. And so underneath that glass skylight is a wooden compression ring five foot in diameter. And so that, you know, it acts like.

It acts like an oculus. You can see up and through, and. But it’s also a structural, like a curved glulam. So all of the forces of that roof structure are coming down into that compression ring. So it’s held in perfect compression, and then at the base of there, you can see it there. At the base of the rafter tails, there’s steel tension cables going through, and that’s holding it in perfect tension at the bottom. So that whole roof system, I mean, you could, like, lift it up with a crane or a helicopter and just move it somewhere in piece.

You know, in one piece. And so it’s a. It’s a pure form of tension and compression. And so you get all of the resonant qualities that go with that, you know, acoustically, experientially. And, yeah, it was your podcast with Topher that really inspired me to reach out to you, and you were gracious enough to just respond right away and invite me on. So I really appreciate the opportunity to talk to you about this. And, you know, Topher. Yeah, he man, I mean, he was just, like, checking all the boxes for me. He designs round structures. I designed round structures.

He studied at California Institute of Earth Art and Architecture, Cal Earth. He mentioned the super adobe domes. I studied there briefly. I took some workshops back in the, in the mid nineties. And as I, you know, as a young architecture student, and I didn’t continue down that road, although it really, you know, it sowed a seed for me in terms of, you know, designing and building in the round. And, um, so that, you know, 20 years later, that that manifested into finding this wooden yurt path. And are there any of these built in Florida? Because I’m just wondering how this would hold up with, like, a hurricane or something.

Yeah. On everybody’s mind right now. I’ll tell you what. Um, there. I don’t think I have any designs in Florida. Florida. I’ve designed over 100 of these, and they’re all. They’re all around the country. Um, yeah, but the company that makes these kits, they’re prefabricated kits. They’re. It’s called smiling woods yurts. Oh, really? Yeah. And I’m an independent designer, so I basically design a custom design houses for their clients. And so then they take my designs and prefabricate the kit with those wall panels that you see and then the roof structure, and it comes with siding and windows in.

And that’s why I like these, because basically, any builder can read the assembly manual. And once you get that kit assembled, then from there, it’s just like any house building project. So most contractors, you know, if they’re qualified and experienced and so forth, they can manage this build so it’s accessible for most people, and then you get all the extra benefits of it. Super efficient. It’s in the round. There’s, like 12% less volume to heat and cool in a round structure as compared to a square structure of the same square footage, interestingly enough. And it just, like, it creates its own natural convection currents.

Like, if you open up that skylight at the top on a hot day, and you open some windows, it’s just going to create a natural, like, a chimney effect, you know, and it’ll just move. You can open up that. That oculus. You could, like, pop it open. Yeah. It’s operable. Oh, wow. Well, hopefully it’s. It holds the way. And I’m not like the one on the Titan submarine, right? Yeah. Wow. Yeah. No, this is really impressive. I’d never, like I said, never looked into this until I started talking to Topher about it. But again, being in Florida, it’s a little bit different.

All the houses in Puerto Rico are built a certain way because obviously it’s. You have the winds of the potential hurricanes that can come with that. And even here in central Florida, we haven’t gotten hit too bad as of recently. But we had a, you know, a category three does some damage. Mm hmm. And that’s not even the strongest. Right. Category three is. A two is pretty scary. A three, when Charlie hit us. Mm hmm. It knocked. It knocked the wind out of us for a while, I remember. And that was, I want to say, probably at least, at least ten years ago.

And it took us out of commission for some weeks. So I don’t know how this would hold up in Florida. I don’t think it would do too well in. Unless could. I mean, it would defeat the whole purpose. But could you do the whole structure like cement or something? The short answer to that is yes. And then it’s. You can do it with. You could form up concrete walls on these, for sure. They also have these things called ICFs, insulated concrete forms, which are kind of like Lego blocks that are hollow and they’re like a foot wide, a foot high, and maybe 2ft long.

There’s different, you know, different brands for those. And you stack them up like legos in sort of whatever shape you want. You could use them for daylight basements, but you can also build the entire house walls out of them. Having said that, these structures, to finish answering your question about the engineering, these are structurally engineered like any house. Um, and they’re actually. These are a lot stronger than a rectilinear or square house. And the reason is that it’s like trying to squeeze an egg. You know, if you push on all sides inward, it’s just, you can’t.

Well, probably could, but you can’t. If you do it evenly, you can’t really crush the egg. And it’s the same idea if you push in on one wall, it’s distributing that load throughout all of the walls. Right. It’s just distributing that load around the house. And the other thing is that like with a square house, you can imagine a square house can rack, you know, like the walls can just kind of move like this to each other. And so you need the sheathing up on the roof. The plywood acts as a diaphragm to keep the walls from racking.

And then you have all these steel hold downs, hurricane straps and that sort of thing, holding that house, keeping it from racking and holding it to the foundation. With these, you can’t uplift any one wall without lifting up the entire house. Right. And so it’s that in fact, these, these are a lot. I feel much better in one of these, in a hurricane really, than in a square house. Absolutely. Yeah. Any day I’d rather be in this. And it’d be more, more aerodynamic to it around. No, yeah, no, exactly. And so the, you know, the winds would move around it, whereas with the square house they’re just smacking against the side, you know, full frontal.

And that, you know, the name Yurtz is in it. In the name smiling Woods Yurts, the company that produces the kits. My company is dream design build. I’m an independent designer. But you know, we’re kind of, we’re kind of stuck with the name Yurts because we don’t know what else to call them. But when we say yurts, like I don’t even use that term with building code officials because they raise an eyebrow and they’re like, oh, you can’t build yurts here. But because they’re thinking about the canvas yurts. Right. And where these are basically round houses, they’re two by six framing wall in the walls, two by twelve roof rafters.

And you know, these are, these are pretty burly structures. I’ll tell you, man, if, if I ever do end up buying some land out here, like plain land, that’s something that is always in the back of my mind. I’m gonna hit you up for. See what it would price one of these are. Cuz essentially, if you really think about it, I mean, I know construction has really gone down, down the drain as of recently because of the whole costs of all the material and everything. And they’re, they’re cutting a lot of corners. And here in Florida, I mean, they’re over developing a lot.

Like it’s cookie cutter houses. I mean, I’m in, I’m in a neighborhood to cookie cutter houses. And the materials aren’t the best. The. And essentially what they do is they put up. Right. The, the. For the walls are blocks. I mean, they’re not filled in or anything. They’re just blocks. And, and then the rest is wood. And then the roof is just wooden as well. I mean, it’s just all just, what do they call it? The truss. Staple trusses? Yeah, they ship them in on the trucks, they drop them off, and they just lift them in place.

And, yeah, they’re stapled together. They’re made out of cheap two by fours. Um, I have been building for most of my life, um, 50 now. So know, I’ve been putting things together for 35 years in houses. And just in that time, I’ve been watching the quality materials degrade. You know, plywood, they shave off like a 32nd of an inch every couple years. Every few years, same thing with two by fours, two by sixes. They just keep shaving dimensional lumber down to where it’s, you know, and when I was a kid, I used to do renovation work in this 100 year old house that I grew up in in New Jersey.

And so I, you know, I figured out pretty quick that a two by four used to be a two by four and it was old growth. And, you know, those things last forever. And they’re so strong. You could build a roof structure with two by four rafters then, and it would hold up. You know, nowadays you need all sorts of supports and stuff. It’s just not the same. They, they accelerate the growth of the trees. A lot of them are actual GMO trees, and so they grow super fast, but they’re soft and spongy and the whole thing.

And any builder is familiar with this, trying to, like, go through racks of lumber at the Home Depot or whatnot and at the lumber yard, and you’re just. It’s. It’s getting harder and harder to find good lumber. So they’re moving towards this engineered lumber, and it’s like, you know, sawdust and, you know, wood chips and formaldehyde and glue, you know, and. Yeah, that’s like chipboard OSB is the like chipboard plywood? Yeah, it’s basically what it is, which, by the way, is extremely flammable, you know, as is everything else that goes into a house these days. You know how houses these days are basically petroleum products, you know, I mean, that’s the american dream.

That’s a. Well, that’s what we saw. By design. Yeah, no, it’s completely by design. And, and it’s temporary. Like all these, you know, the type of housing that you’re describing, you know, it’s like tiki tacky, you know, houses, they’re they’re. It’s temporary, man. It’s. It’s meant to. You know, it’s kind of like a car is meant to keep you safe when you get in an accident, but it’s also designed to crumple. So you throw the car away, but you live. It’s. I feel like it’s like that houses are designed to, these days to hold up in a hurricane to keep the occupants safe.

But it’s not designed to last more than, like, you know, 30, 40, 50 years. And it’s pretty disgusting because that’s as long as people usually get their mortgages for 30 years is the. There you go. The longest. So it’s. Again, it’s all done by design. This. It’s. It’s the american dream because you got to be asleep to believe it. Is that. Yeah, that’s. That’s pretty much. Pretty much it. This is. This is one. And this is in Prague? Right outside of Prague. I was. I was. Yeah, yeah, that’s right outside of Prague. I was lucky enough to visit there in April, and I.

And I met an architect, czech architect, who brought me to this project that he designed and built for a Montessori school. Interesting. Yeah. I’ve always wanted to go to Prague, dude, if. I mean. And this is why I reached out to you, because I got excited when Telfer was talking about roundhouses. But when he mentioned when you and him hit on cathedrals as a homunculus for the architects and the builders, I was like, holy shit. Like, you just, you know, hairs on the back of my neck standing up. Like, I gotta talk to you about this because, yeah, I’ve been.

I’ve been wrestling with these ideas for a long time. And not to get too far ahead of myself, but what was so incredible. Incredible about visiting Prague is that it’s an intact old world city. Like it wasn’t destroyed in World War two or World War one. So, you know, on the one hand, it’s amazing to think that all of Europe looked like this before, you know, the modern epoch rolled over the old world, you know? But just to, like, just to walk around, like, look at those balls at the top of, you know, every building has those spires and antennas with those balls that are like, you know, inlaid with gold and probably have spinning mercury or something inside of them.

And all of that stuff is still intact and visible and. Yeah. So somewhere along my journey, five, six, seven years ago, I got into this idea of the electric universe. Electric universe theory. Yeah. It’s one of my favorites. Yeah. And realizing that, you know, we’ve been hoodwinked with modern, you know, scientism and, you know, the idea that, you know, we’re sort of disparate objects separated by space, by empty space, we being human beings, being, you know, celestial objects, what have you, and then realizing that, in fact, the ether exists and we’re all in it and kind consciousness is primary, and all of that stuff.

Stuff started clicking for me. And, like, I was raised Christian, and then I, you know, so many people have this story where I kicked that to the curb and, you know, spent 20 years as a devout atheist, and. And then when I came upon this electric universe theory, I just, like, it occurred to me that science and spirituality are not opposed to each other, you know, that they’re actually two sides of a coin. And that’s what that opened up for me. But it also opened up the idea that these old world buildings are doing something with the ether.

They’re, you know, and then this again, like, five, six, seven years ago, just started going down this never ending rabbit hole of discovery, and which led to me starting my own YouTube channel, channel, marvelous old world, where I just, you know, had to start putting these ideas together and putting them out. So, yeah. When you know who this is here, is this, like, canonable or something going on here? What’s going on? I am not sure. That’s a great question. Do you know what the name of this building is that it’s a. It’s a. It’s a government building, and it might even be.

Shoot, I don’t want to misspeak. It might even be like the presidential palace or something that that is up on. There’s Prague Castle, I think it’s called. There’s a cathedral up there. It’s like when you’re in Prague, you know. Yes. Prague Castle. Yeah, there you go. Prague Castle. There’s so many things that are drawn your attention, but way up on the hill, way up on the hill across the St. Or the Charles river is a castle cathedral complex. And this building is up there, and it’s just mind blowing. It’s absolutely breathtaking. So. And you can. And you feel it.

I, you know, I really. I really feel like when I was up there, that you can just feel the energy of it. So they’re titans. They’re fighting giants. Okay. Giant gate wrestling titans. Scope the court of the broadcast on the set. Republic. Yeah. The reason I love. I’ve studied Rudolph and Rudolph II. Obviously, it was in Prague, and you have the legend of the golem in Prague. Yes, it’s a very magical place. Yes. The whole jewish quarter there. I did a tour of that. And did you go to the alchemist lab, bro? Yes, I did. Are you talking about the underground chemical complex that they discovered? Yeah, when they were doing some remodeling.

Yeah. And realized that this building had a whole underground that was connected by tunnels to the, to the king’s castle, basically. And he would sneak out, you know, past his own guard and, you know, go hang out with the alchemists and who are mixing their brews and medicines and concoctions and whatnot in this underground lab, which. It’s still there. It’s still intact. I mean, it’s incredible that you can actually go and visit this. Yeah, they got the alchemist. Alchemist Alley is what they call it, I think. Alchemist Alley, huh? Yeah. The. So Alchemist Alleles is present name to the goldsmith.

According to the legend, these ghosts were the alchemists of Emperor Rudolph II, who had a passion for alchemy. And, I mean, he had a whole core of alchemists because he was trying to. He was an alchemist. He was in, he was more concerned about the occult than he was actually about ruling. And I mean, that, that’s where, for me, with the whole building stuff, it, I study mostly the occult, occult symbolism, esoteric, esoteric subjects, alchemy. And it never bled into, because I have this other friend of mine, homie Romy, who, he talks about antiquated transhumanism and, like, old, ancient tech and the buildings and how maybe perhaps these, these crowns weren’t what we’ve been told that they were for.

Like, you know, these crowns might have been like these directed energy weapons, I guess, for lack of a better word. Like, you know, that they would put on and use. Right. They’re sitting on stones too. You have the whole idea of the Ben. Ben Stone. And then my research led me studying John D. Studying Paracelsus. I stumbled across this idea of pythagorean palaces, and I’d never heard about that. Also me, I studied pythagoras, so I was familiar with pythagorean symbolism and their numerology and all that. And I never heard about pythagorean palaces. Well, it turns out it’s a concept.

And I was able to get a hold of the book. Now, unfortunately, that book, the cost of it, since I’ve started talking about it, has, has tripled almost. And it’s about, it reads like the guy was an architect. He was, he studied, he was an esotericist with renaissance architecture. His name is. Refine him here. I bought all his books. George L. Hersey. Now you can find the book on archive.org. you can find it. So pythagorean palaces, magic and architecture in the Italian Renaissance. And I. When you read it, there’s a lot of stuff. There’s a lot of verbiage as far as, like, you know, architectural verbiage.

But the concepts behind the architecture back then, there was a lot of woo involved. So you have feng shui, you have geomancy, which are actual concepts. They’re actual things right there. Their actual ideas of laying out structures. Mm hmm. In a favorable way. Right. In a way that can either promote good energy flow. Well, that’s also alchemy, because alchemy also involves the manipulation of matter at. On the physical plane as well as the metaphysical plane. So the. The upper dimensions. And this book reads like a regular architectural book. But then he’ll throw in some stuff. For example, you know, only the initiates know where these hidden corridors are.

Every now and again, he dropped a nugget like that. I’m like, this guy’s kind of. Kind of obscure. Not a lot about him. He’s got a. He’s got pipe. Six or seven books. I have all of, I believe because I bought them all. Cuz I’m like, maybe I stumbled across like some grimoire, some. Some typewrite maybe of some sort of code or something embedded into. And the further I looked into it, the idea of the architect as magician, which I did a whole episode on that. I think it’s episode 119. And I interviewed the. The professor who wrote that book, the.

The architect as magician, and he goes, goes way deep. But the idea that architects were essentially demiurges to these buildings that they were building. And then you would have almost like these battles that would go on where all these families would. The reason that they would up their. Their building is because they wanted it to resonate more than the next family. So if your. If yours had, you know, 14 windows or mine had 33 windows, my homunculi was better than yours, or my homunculus is better than yours. And they quite literally called these buildings homunculus, because the way that they saw it was these architects were practicing a sort of manifestation where the idea exists here.

And this how you’re saying this plasma universe, right? It’s floating around and then it’s get. It’s impregnated into your mind, right? Impregnated. And it turns into a fetus. It starts to grow, is what they call it. I mean, this is all in the literature. It’s a fetus. And then you birth that model into either a little model or a drawing, right. It’s another form of projecting that idea, manifestation. And then the, the last phase is the actual building itself. Mm hmm. And whenever something about interdimensionalism starts to step into the equation, like that really perks me up, cuz I’m right.

I love dungeons and dragons magic and all this other stuff, like the movie magic, like the stuff that’s like, cool, right? Like, like wizards and all these shows, like that type of stuff. And he starts to get into, well, there’s a culted scaffolding in these buildings, and there’s hidden things. And I’m like, what are you trying to get at? Because in all these movies that we’ve ever seen, like Harry Potter, that alleyway, are you talking about the Alchemist alley? Well, that, that wall at the train station that you’re able to run through, right? You’re able to run through it because it’s a portal.

Well, in structures, the portal is the ark, right? Right. Though you have the arch. The archway, yeah. And you go to the portal. And then sometimes if you look at that, that picture that you had, the one that you had where it was the take it away, I guess. I think I did it. This right here. And then you start to see this sort of stuff, like, way. Are they, are they dealing with cymatics? They sure are. And, and maybe again, because for those that are thinking like, oh, dungeons and dragons and wizards and warlocks and all this.

That’s silly. Well, that’s fine, right? All is, all is mental if you want to go there. All is mental, right? It’s all in your head, and you’re, you’re just, you know, making these things up in your mind. Well, what if they’re manipulating, not energies again, that you’re able to see, but energies on a higher level of reality, on a different dimension. So you start to get into interdimensional architecture, and maybe these, these buildings are resonating on different frequencies, therefore different dimensions, which some of them you can’t comprehend. So there’s a reason why maybe when you walk into a room that’s cut off at the door, right, you forget your something because maybe you’re cutting that off, right? You’re, you’re.

Hmm. There’s talks of, like, your astral body being tugged around. Bye. A silver cord or all these ideas. And maybe these little things up here are just door doors for your astral body to come through. Right? So they can either mine it or whatever it is. And these ideas, again, you have people like folk and Ellie, who could have been trolls. They could have been trolling people. Who knows? I mean, they’re. They’re. There’s. They’re alchemists. They’re a secret society. They believed that certain people couldn’t attain the knowledge because it was sacred. Right? So you have that aspect.

We have to keep that in mind. And how manly. P. Hall says woe to those who, paraphrasing, accept the ramblings of an alchemist. To the t. You know, I’m paraphrasing it, but again, be weary of what you’re taking it. But a lot of times you have to read through the lines too, right? So you have folk and Ellie talking about how all these cathedrals, while they’re actually what they were meant to be, was a way of record keeping and to invoke spiritual experiences, epiphanies for people. You have churches that they attribute the. The different miracles in the church, not to God, but to the actual structure itself.

And. Right, so you have that idea of, well, are we experiencing. Well, what’s theurgy? Well, theurgy is using. Is using powers from up above. Okay, well, when you go to church, that’s theurgical, where you’re asking for help from up above. But then in the pythagorean palace, what if you can incorporate both of them? What if you could build a building to a certain geometric proportion to elevate everyone’s consciousness within that building to bring them closer to the Godhead. And then you get into the whole idea of freemasons or masons. They’re all about buildings. You have hyrum abif or you have all those concepts.

Gotta do something with buildings that the Knights Templar, which were responsible for a lot of the. The cathedrals that were built, they were trying to perhaps maybe alchemize and transmute the entire world by bringing these buildings into existence. Like, there’s a lot of. There’s a lot of dots need to be connected. But that’s where my research led me. And again, I’m still peeling the layers back, but it all started with this pythagorean palace idea by this Gl Hersey guy. And. Yeah, I don’t know. He was on to something and I think that it’s being used even in the.

So we’re talking about their buildings today. Well, the same way that you can build a building to elevate people’s consciousness, you can easily invert that. So think about the houses that they’re putting us in now, where they’re all the same. They all have the same angles, right? So what are they doing? And they want to put everybody in 15 minutes cities? Well, the memory palace, part of that manifestation of these concepts is that you’re able to manipulate the energy within the actual building through the use of a model, the same concept for remote viewing. So think about why they want to put you in a 15 minutes city and lay everyone out and be able to access everyone.

Maybe not physically, but maybe some sort of metaphysical way. Yeah, yeah. They. Our town built a new elementary school for our new middle school just a few blocks from here. And, you know, we’re excited and brand new school and what a privilege and all this. And then, you know, I was watching it while they were building it, and it was made out of steel studs, not wood, but steel studs. And I just had a holy shit moment where I realized, wow, they’re building a huge Faraday cage that is going to trap all of that negative dissonant EMF pollution within the building, which the kids are just, you know, and there’s just no end of the devices whirling around in there.

And that, you know, the realizing, well, yeah, my kids are subjected to that, and that sucks. But that’s like the antithesis of what we’re talking about with a building that’s, you know, with alchemical principle, actual alchemy, you know, infused. And this is like the western esoteric tradition. Right? Versus the. As opposed to the feng shui. And there’s a lot of, you know, there’s a. There’s a big Venn diagram, and they complement each other. But the western tradition. Yeah, you know, it’s not the building as opposed to God. And that’s, I think, a mistake of the modern age.

Again, seeing science and religion or science and spirituality, to be more precise, as antithetical to each other, but that you have science at the service of a higher divine principle and bringing us closer to God. So, for instance. Yeah, if you build a cathedral with piezoelectric materials, stone, put, you know, crystalline stone, granite, marble with quartz, so forth, put under pressure, creating charge, drawing to it, acting as. As actually acting as an antenna and as a receiver. And then you’re building that on ley lines, and you’re building it. Usually they’re built over a river, an underground water source, which is conductive, and I.

Creating an electrical current. And then you have. On the roof, you have copper and gold, and these spires that are going up into the atmosphere. And then they have, you know, like fractal antennas all over the place on these roofs. And then, and then to add to that, you’ve got a, you know, a massive rose window like you pointed to that has, you know, it’s reflective of, you know, like the cymatic resonance of that particular structure as Topher was pointing out. And then you have a pipe organ with like 40,000 tones, some of which are not even audible to the human ear, which is curious, like why you’d go through that trouble and that’s playing and blasting through the, you know, the rose window and out into the community.

So it’s not just the. Of people, it’s the eye of Sauron or whatever it’s called from the Lord of the Rings pretty much. Well, I mean, I can see it as, as something that’s actually uplifting the vibration of the entire village around it. Wouldn’t you think that it’s, all of this is elevating everybody and every to combat that, they, the reason that they use these pictures and it was meant for the, for the peasant class that couldn’t read, right? So they would build, they would put these pictures on these cathedrals so that those people ate, the poor people could come and have those experiences and therefore, in my opinion, have more of a grasp on them, right, to make them feel less, lesser than what they actually are.

Cuz like, okay, well, there’s a higher power than me. And if you look at religion, I’m not bashing religion, but if you look at religion now, it’s a brokered experience, so you can. And that’s why they knocked out the gnostics and all these other religions, because the gnostics, they were there, they would believe that you could achieve divinity through your own self, through, through you, through your gnosis. Gnosis is whatever sacred knowledge is to you, right? It’s your journey, it’s individual. Well, what happened to the gnostics? We know what happened to them. They got wiped out by the church.

Why? Because you can’t be preaching that you can achieve divinity wherever you are. No, no, no, no. You have to come to us. We’ll talk to the guy upstairs for you, right? You come every single Sunday. And then you get into the idea of the manipulation of subtle energy, which is what you’re talking about, where you do a ritual, a ceremony every single Sunday here on, in this exact spot. And every single Sunday you come back and you wear in that year, you’re whirling that, that you’re sending, how, you’re saying, you’re sending that energy out into the ether.

It’s coming back and you send it back out again every single Sunday. Every single Sunday, just back into. And that’s powerful, right? So. And that’s how they sink their teeth deeper into you. So you have, you can only achieve divinity through us. Us being the establishment, being organized religion, and they wipe out anybody. Oh, you, you say that you can achieve, you know, what did, what did Jesus say? You have turned my house into a den of thieves. Right? I mean, hello, right? You’re not, you can worship God anywhere. You are. It doesn’t matter. You don’t have to be at a certain place at a certain time to be able to, you know, God’s not only going to listen to you on Sunday, he’s going to listen to you whenever you want.

You can just pray to him right now if you wanted to. Right. So I think that’s by design, to make people have these experiences, sometimes even super. Not, because I, again, pentecostal. So I know about when they’re running around and jumping and doing all this. I know about the atmosphere, right. And it really locks you in. And when you’re having, when you’re letting people have these experiences, they’re like, okay, we’ll let you guys handle that. And we’ll just show up and pay our taxes and pay our tithings and everything else, and we’ll just listen to whatever.

And again, it’s a form of mkUltra, man. I mean, you got the lights, you got sounds at that level. Yes. But do you think, Juan, do you think that the cathedrals were built by the, by the brokering forces that you mentioned that are, you know, mediating the peasants relationship with the divine? Do you think that those are the ones that created the cathedrals or. Because part of me and I, you know, I, some of this is just going on, you know, intuition feels like these were created by a, you know, a higher mind, and then they were somehow usurped.

And I, you know, this is something that I’m wrestling with, and I wonder what your opinion on that is. I, you know, the whole, the whole tartarian stuff, Atlantis, whatever you want to call it, I like the idea. I don’t think that there. That they were built by anybody. I think that they were built by who they were built by. And they were, they were able to build them through all chemical means. If you follow the story of the Knights Templar and you get into the woo of it, well, they were able to establish this vast banking empire that means even alive till today, it’s an alchemical system through the use of divination, through the use and the prophecies of, again, forces from another dimension, if you will.

Because if you get into the whole baphomet storyline and what that entitles, right, the invocation or evocation of an entity that’s outside space and time, well, that’s ultra terrestrial or extraterrestrial, whatever you want to call it. But they were simply portraying the information and giving the secrets to the Knights Templar in order for them to be able to establish a this banking system in order. And I mean, if you. And there’s. There’s the other side of it to where the Knights Templars stole the secret from. I think it was Nicholas Flamel, actually. They had acquired the secret of how to create lead to gold.

And the reason that they were able to fund all these buildings was through the use of this alchemy, right, through the use of the philosopher stone or this secret. So depending on which way you look at it, I think that they were able to build it. I think that they were able to and they acquired that. Now, the knowledge is what they acquired from outside sources. I think that’s where the outside intervention would come, that’s in my opinion. Because you have the people who think like, oh, well, a race of people. And that’s funny that they have the giants outside the palace there at the titans.

Right? The giants built this, the giant, right. You have all these crazy, really big doors and just. Just weird stuff. So maybe the giants built it, right? But I think that. No, I think that people did build it and they were trying to do something much. The use, the original use was lost. And I don’t. I think that maybe because you have places like the pyramids of Giza, right? So I. Cathedral, but have a buddy, I’ve never been there, but I have a buddy of mine who tells me that whenever you go into the pyramid of Giza, you can feel the energy almost as if it’s not working.

It’s not. It’s no longer working. It’s used to work. It used to be this power source and it’s working maybe at .001 of its capacity. But when you enter the pyramid, you can feel the change in the atmosphere. You can feel that energy. Sure. As soon as you walk in. Right. So, again, do I agree with the more advanced people built it and they were taken over? No, I don’t. I don’t believe that. I believe maybe the people who had the knowledge and acquired it through these. These means of interacting with forces outside of space and time.

I think maybe that’s more because when you get into, and that’s the beautiful thing about alchemy, that when you start to get into these hermetic buildings are all chemical buildings. Alchemy involves, again, interdimensionalism, entities outside of space and time. It involves everything. And that’s what I love about the topic, because you could, it operates on. Manly P. Hall says the alchemist is working on four different levels simultaneously in order to achieve the magnum opus. Right? So, yeah, I don’t agree a hundred percent with that, but I am aware of the tartarian crowd and how they always talk about how all these cities were.

And one of the, what really, what really did it for me. But the whole tartarean stuff was there was this channel, I think it’s called a wor. Something like that. Yes. Award awar. And one of the videos that he had done where they were going through these palaces or whatever, and a lot of them were made out of plaster, and a lot of the walls were made to look like marble when they actually weren’t marble. A lot of them, when they were demolishing them, they were buckling, because, again, they were, like, made out of plywood. Right.

And it’s like they didn’t break how was supposed to. And it’s like, it’s like bouncing off the ground. It’s like, well, yeah, it’s plaster and wood. So I’m like, okay, you have the whole cogito or go some. I think, therefore I am, because. And the reason Rene Descartes said that was because he couldn’t trust his senses. So you get into this idea, right, of the manipulation of senses to make you believe something else. Mm hmm. And sometimes you got to look at the. The. You have to look at it from different perspectives. And when you’re looking at it from one point of view, where you’re looking at all these crazy pictures and everything from the outside, these world fairs, you weren’t actually there to knock on the plywood and check, oh, this isn’t even, this isn’t even meant to last.

You know what I’m saying? Like, we’re focusing on one. Yeah. Perspective of it, if that makes any sense. And that’s what, that, those were the videos that really did it in for me. And I was like, not saying that they’re all plywood, but no, no, I wore he, whatever his real name is, he refuted his own work, went on a big apology tour to a fault, I think, because I think he was on to some things and maybe just kind of got ahead of actual actually being able to, like, validate some of the things that he was putting out there.

So let’s see which to jump into. I just did it. I just did a whole, like, hour and a half long video conversation with great Deception podcast, Matt T. Over there about the Chicago World’s Fair in particular. And I’ve been looking at those very closely and through the eye of an, you know, as an architect and as a builder. So, yes, nobody. None of us were there, and yet each of them have left structures behind that are awfully real. Like the Chicago Museum of Science and Industry was the palace of Fine Arts, which I’ve been there.

Have you been there? I mean, it’s a phenomenal structure, and I would defy anybody to prove, to demonstrate how that one building could be built, from planning to turnkey execution and then housed with all of this, you know, world class art collection in two years. Like, I don’t, you know, just want that one building. And there was, what, 200 buildings? So, you know, I don’t. Were some of those buildings there before? I’ve been exploring the idea that many of much of our, you know, old world building stock in the United States up into Canada has been here for a long time, a lot longer than the history books would let on.

There’s a couple of really great instagram channels that just put up photos. You might have seen them, like, old world architecture, New York, old architecture of New York, or something like this. There’s a few of them, and it’s just one after the other after the other. Like, I’m starting to think that half of these are virtual creations, because it just. Every time I see a new one, it blows my mind. I’m like, how the hell did I not see this one before? Each one is a masterpiece. And I think of everything that it would have taken to put that one building together.

And there’s just no end of them. Hundreds and hundreds and hundreds of them. More than half of them, probably most of them, have been destroyed in the 20th century. And then you look at the dates of construction, and they’re always like, 1880, 918, 92. And it’s like, what the hell was going on in 1889, from 1889, which, by the way, was when the Seattle fire, the great fire of Seattle was, and the early 1890s, where there was just. If the history books are correct, then there was just this absolute unrivaled renaissance of great architecture and construction that was going on.

But at the same time, you know, the country was facing an economic depression. We were just kind of getting ourselves back together after tearing ourselves apart during the civil war. And there was all of these urban fires that were happening just before and during and after that period where, city after city after city, these old world downtown cores were being incinerated one after the other, which, by the way, is not. Doesn’t even have a mention in our history books, other than the Chicago fire. Well, it happened in almost every city. And just like I just released a video yesterday about comparing Seattle’s great fire of 1889 to what just happened in Lahaina.

And the more I looked at it, the similarities were really uncanny. So I did a very difficult video to put together, but comparing and contrasting those events and looking at just what I’m looking at as reset fires. So the whole exploration of the world fairs has to be looked at alongside of the fact that our cities. I’m absolutely 100% convinced that our cities go back much earlier than, like, 1880, 918, 90. And then you have this whole overlay of, you know, the actual history books, what they say, and, you know, you have, like, architects like HH Richardson, who I’ve looked into.

And so he’s one of the three pillars of american architecture alongside Louis Sullivan and Frank Lloyd Wright. And I. At this point, I just think he’s a complete fabrication. You know, he had a. He had a career that spanned 20 years. He was very sickly through most of it. He’s attributed with, like, 80 just absolute masterworks, like the. Like the state house of. In Albany for New York, like, Trinity Church in Albany, like, actual masterpieces of world architecture. And he’s got, you know, he has, like, 80, 80 of those to his credit. He went to Harvard.

He was in, like, three of these skull and bones types. Type, you know, social clubs, the porculinian or porcelainian club, however you pronounce that, which, their mascot is a boar or a pig, which is curious, but that’s like the Harvard version of skull and bones. And he spent, you know, the. The books about him say that he spent most of his time socializing and fraternizing and not really studying. And so. And then he went to the Ecole des Beaux Arts to escape having to serve in the civil war. And. And then he came back, and again, he had, you know, if you.

If you kind of narrowed down him getting out of school and before he got too sick to actually produce, it’s like 1015 years. And so, yeah, I just don’t see. There’s no gravitas in his backstory. As, you know, this genius creator, I don’t see it. And yet he’s given credit for not just all of these buildings, but being the godfather of, um, american romanesque architecture. So that’s the same thing, like richardsonian Romanesque is. And so if you look at like the, the, um, the county courthouses, like the Spokane county courthouse, which is, you know, fortunately still there, or, um, you know, Tacoma, like Tacoma, Washington, just to pick Washington.

These are unbelievably marvelous old world buildings. And they’re supposed to be Richard Sony and Romanesque. But, so I, at this point, I just concluded that this romanesque style America had its own romanesque movement in architecture. But it definitely preceded 1890 I, and unfortunately, yeah, like so much of it has been disappeared because I just think the modern age doesn’t know what to do with these buildings. Yeah. You know, it’s, it’s antic, antiquatech. I mean, it’s a form of antic, but they don’t know how to tap into it. It makes no sense to them. So again, that’s why I feel like the, maybe they’re, they’re the people who held the secrets were, you know, undone with, or again, it’s a form of secret society like these alchemists.

And I agree with you, there is a lot of even alchemists that I’ve studied, and the, the history cannot be trusted. I mean, that’s a hundred percent, or you gotta take everything for what it is. You mentioned earlier about the school and how they write the above these schools, a certain type of way. We’re constantly bombarded with frequencies in our homes of, or wi fi, 5g. They have even sick, my wife, my router has six g or seven g or something like that. Something crazy now. Yeah, something like that. Yeah. It’s got like some crazy frequency on it.

And, and again, we’re constantly being bombarded by these things. So what is that doing? We don’t, we don’t really know if frequencies are able to split water molecules right down. It’s making us sick. There’s no question on all that. This stuff is making us sick. That book, invisible Rainbow, goes into, you know, from the outset, you know, when they ran electrical wires over the railroad, you know, it connected a dissonance circuit of radiation that was making the train riders sick. And this is, you know, back in the 1890s, early 19 hundreds, you know. Yeah. This is crazy to look at.

Right, right. What’s going on there? Yeah. And, yeah. And so that was the earliest iteration of the grid that they were shoehorning into these old, older cities that. So now this. Not to cut, you know, not to. Sorry to interrupt, but this, this is still present, except it’s under our feet. Right. It doesn’t go away. That’s right. It doesn’t go away. It’s the occulted. Right. They just occulted the wiring underneath. Yeah. Yeah. So, you know, this is just electricity has been around for as long as their, you know, existence has been around, because that’s the nature of reality.

And so, you know, I believe that the alchemists understood it, of course, like, you know, Tesla’s, you know, whether he invented or just kind of channeled, you know, an understanding of this antiquatech type Tesla technology, you know, absolutely. There’s, you know, we. And I believe that that is what these old buildings were doing. And so I’ve looked at, you know, Seattle. There was just a focus on Seattle because that’s where I am and I’ve looked into it. And a lot of my videos are looking at old World Seattle before the great fire that just wiped out the downtown.

All of these fires seem to somehow focus just on the business district. And by the way, all the backstories of these fires has some silly cartoon story of a cow kicking over, tossed into a pile of moss, and like, yeah, and then they all say the same thing, that these building, these cities were made out of matchsticks and just ready to go up in flames, and that there was no building codes. And it’s all nonsense because when you look at the, uh, built, the photos of the, of the, uh, aftermath of these fires, you see masonry buildings in ruins, you know, brick, stone, and ornate ruins that are just incinerated.

And, um, and all that is very curious. But the build, the. But the buildings that were there before, um, they’re really like, they’re, they’re large scale, like 14 foot, 15 foot ceilings, ten foot windows and doors. Masonry or completely ornate masonry structures. So, like, one simple question is, how are they heating these? And you’re going to tell me there were wood burning fireplaces in each of them, or did they have some other means? Did you, have you seen the huge fireplaces? Right. I was only ever able to find those one time. Like, they’re like, this is huge fireplace.

Like, huge. Like the size of a person. And I’m like, why would you need a fireplace that big? It. And ever since the first time I saw him, I haven’t ever been able to, to find pictures of him again. Well, I’m gonna be talking to, you know, you know, Dave Zed for sure about, like, how this, you know, because I really want to. I want to just dial in on how this antiquatech actually could be. Could work, you know, how can, you know, there’s been this talk of the radiant fireplaces where those two. Where’s my camera? There’s two stanchions that are like with brass balls or gargoyle or something.

And, and then the idea that that’s connecting a circuit that. And I’ve seen pictures of those buildings and ruins where you’ll see a copper strap going up into the attic connected to antennas or spires and then down into the foundation. And that sure does look like a circuit. And if it was arranged in such a way, could you actually use that to create heat? And I think the indication is that, yeah, I’d like to understand it better, but I think that the ancients, our ancestors, really understood this stuff. And then you get into who really did build these.

And it’s an open question, and it’s a fascinating one. It’s, you know, I think it’s one that we’ll be exploring for a long time. But I think we’re just sort of entering into a age called the apocalypse, where people are starting to wake up from a long sleep. This is the, just flipping through this book here, the pythagorean palaces and the idea of the occulted scaffolding here. He’s, you know, talk gets into, like, visualization and all these different concepts. I’m like, this really a book about architecture. Is there something more to this? And I think that, again, I agree with you trying to find the.

The use. Right. I think. I think who built. Who built the. These buildings is one argument. And then what was the purpose for them is another argument. Because you could also argue that, like, why so lavish? Why so biggest, you know, what? What could you possibly need a building like this for? And again, this book goes really deep. And when I first. They mean by scaffolding in this. Is it metaphoric? Yeah. So the occulted scaffolding, which you can apply to anything in it, and it gets into the idea of things that are implanted during the process.

And this is why it’s so important for people who don’t believe in magic or the occult. It doesn’t matter, because if the magician that was creating whatever it was put his intention right alchemically into the project at the end of the day, and you’re using it, you’re carrying that intention without you knowing it. So he gets into the occulted scaffolding is these lines, these hidden corridors, these hidden arches that are drawn on the blue, you know, blueprints of the building, I guess you call them, that are then erased. Right. The, and if you take that concept and you extrapolate and put it to really anything, you know, what were the intentions of that director? Right.

Cinemagician. And when making that movie, writing that script, creating that character, what’s going on behind the scenes that then is being put out. You know, the concept is different than the final product, but you still have all this occult, that scaffolding that was associated, that was later erased from the concept to give you the final model. Hmm. That has power, you know? And not only, but then you get into the whole concept of the building themselves, or talismans. The building themselves are magic, right. The building themselves were used in a theoretical way. The reason that churches are built the way they’re built, right.

To direct the energy. Those, to me, those are the directed energy weapons. Shout out to Emily Moyer. Those are the directed. Because they use the media, they use all this stuff, and they lock people’s consciousness in these buildings. Topher talked about their mandalas. I never thought about that. The domes are mandalas. What are mandalas for? Their devices, technology to take your consciousness, and it transports it. Where does it transport it? I have zero clue. But we know that, you know, the mate, again, using the masons, because they’re the most, they’re the, the, the punching bag of the occult world, I guess, right? The conspiracy route realm.

The, their lodges, right? The, the color schemes, the layouts. It’s all done in a geomantic way for them to do their ceremonies, right? Colors play over. So here it’s the idea of the dome, right? The. So you have the angels spiraling around within the. So. So think about this. Think about this right here. If, let’s say you’re in one of these old, it’s the sick, it’s the, I don’t even know how far back goes. Let’s say it’s, it’s an old century. You’re in a church. And we know back then that they like to use stocks of Mary Jane, right? And they would burn them.

And the, the priest or whoever it was, would go down the aisles and do his chants. And he was hot boxing everybody in the church. Everyone’s getting hot boxed. And you look and you start to feel real good because the stuff back then was probably a lot stronger than it is today. You start to look up and you start to see things, because, again, because of the colors of the glass, right? The. The glass is made a certain alchemical way. I mean, we know this, that there’s people who go, they’re initiated to learn the art of creating this glass.

Like, there’s glass they find at places that, oh, it’s like, it’s Tiffany glasses worth millions of dollars. Because the process in which they built that was, again, either kept secret between a tight group of people, they were. They had to be initiated to learn the art of how to do it. Again. It’s. It’s magic. It’s magical is what I’m getting at. So you look up and you start to see something like this, and you go, you know, you’re tripping your balls off, and you’re going, okay, this is crazy. You go, it’s got to be the building.

It’s got to be. There’s got to be something more to this reality. And again, it’s. It’s all by design, in my opinion, but absolutely, he gets into all this, dude. I mean, it’s. And what I love about talking to you is that you’re an actual architect, so you know about this stuff. This is what you do for a living. So the buildings is. Is not something that you just watch a couple YouTube videos on. You’re like, hey, you know, there’s something fishy going on. Here’s like, no, I agree with you. There’s definitely something that’s afoot, and we can’t take what they’ve told us to with, you know, 100%.

I 100% agree with you on that, that we have to investigate and find out the purpose of these places. You reminded me of a story of when I was in Prague. I’m walking around by myself, of course, at night, and it’s. Again, it’s the kind of city that you can just turn any corner and you’re just going to see another cathedral, another extraordinary building. So I hit a joint, right? So I I’m walking around, and it’s at night, and so I wasn’t looking for anything in particular except to get eventually back to my. My apartment. And I hear singing coming from what looked from the outside like a very modest cathedral or chapel.

And, you know, if I saw that in Seattle, it’d be, like, the best building in town. But. So I approach it and I hear. I hear music coming, and I. So I walk up the grand stair, and. And by now, I’m, like, stoned. And I realized, wow, there’s. It’s like a Wednesday, but there’s service going on. So I’m like, what the hell? I haven’t been to catholic mass in years, so I walk in and just immediately was hit by the sensory. Just a sensory, like, it wasn’t overload, but it was, like, really intense. The aromas, the incense, and the parishioners were standing up, and the priest is delivering a sermon in check.

So I don’t understand anything, but I got the cadence and everything from growing up Catholic. And then band in the front place, and the place is filled with music. And this is the first time, really, that I can say that I’ve had an experience, and I just knelt down in the back. There’s a few other people kneeling down on the floor in the back. And this is the first time that I really put it together that, you know, there’s all this stuff going on in the, you know, in cathedrals, and you can study them to a point, but at a point, you just have to experience it.

You just have to be present and experience it. And when the music, like, it just made everything vibrate, everything was lifted, and, I mean, I just felt my spirit, like, coming up and up, regardless of who built it, regardless of for what end. Like, that experience I had was so uplifting, and it didn’t have to do, you know, there was a certain, you know, a certain intention on the part of the priest delivering his sermon. And I, you know, I couldn’t understand the words, but I certainly felt the intention. And then when the mass ended, what was so interesting was seeing the congregation break up into family.

Family units. And that was one thing that really struck me about Prague, was how intact the family structure is, by the way. It just felt, like, nostalgic in an interesting way, because, you know. Yeah. Anyway, because our society’s just been so fragmented, and do you know what. What religion was? It was a Catholic. That they were. Yeah, it was. For sure. It was. It was Catholic. Yeah. Interesting. And then. And then I came to find out, um, that these cathedrals, and they have the chapels along the side going down, and those are tuned. Those are tuned to different frequencies, so you can perform different, you know, gregorian chants or what have you in each, you know, specific to each chapel on, you know, in a court just in a corner of this building.

That’s the understanding of the natural law is profound and its connection to the divine. And, yeah, I think there’s a higher purpose. I really do believe that there’s a higher purpose to those structures that, you know, may have been hijacked in some cases, maybe is intact in others. You mentioned crowns before, homie. Romy talked about, I believe you said, the crown having an actual function. Now, what’s the wand called? The specter, I think it’s called. Right? Yeah. That definitely looks like maybe a pharaoh’s staff or something, but crowns, like, you know what a vajra is? Yeah.

No. Like, if you just type in vajra. Vajrvevajra and pull up what you see there, and it’d be an indian. Looks like a device. Have you seen those before? Yeah, let me pull it up here. It’s got. I think it’s got, like, star wars. What the heck? I’ll pull this one up. This thing. Yeah, there you go. So those come in, you know, many, many, many variations. And. But that’s the. That’s the general. That’s the gist of it. And it’s interesting that in. I believe in. In Sanskrit, vajra means both diamond and lightning. So. Yeah, and so for it to mean diamond and lightning, that gets into the whole electric universe theory.

And the idea that, like, you know, lightning or plasma arranges rearranges elements and groups elements together. So I’ve heard of, like, miners looking for gold veins, diamond veins alongside wherever. I, you know, traditional narrative storytellers would say that, you know, a dragon struck the ground back, you know, in the distant past or something like this. So do these devices have. Or are these devices is a question. And. Yeah, you see them on top of bells, where these. And so they also, like. They look like z pinches. So there’s talk about how stars are within the electric universe theory.

Those physicists talk about how stars are formed around Birkeland currents at the Z pinch, where the plasma filament kind of twists around itself and there’s a focal point, and that’s where perhaps stars. So the idea that stars are actually powered from without, as opposed to within the being nuclear furnaces. So it’s. It’s an alternative view of actual function of stars. But those look like a diagram of z pinches. And so I’ve thought for a long time, and this is where I was going, is that crowns look like. Look an awful lot like Vajras. Like, that looks like a crown on top of that bell, or it could look like half of a vajra.

And also the. The idea. So another important aspect to all of this, because. Yeah, and we haven’t even gotten into the. The bells. The bells is also a very interesting concept. Yeah. And the. So trying to find out who built these buildings, what they were used for. And there’s also something we have to keep in mind that maybe perhaps these buildings are only active during certain periods of time during certain times of year, certain times of the day. Right. Certain astrological alignments because that’s also important. So maybe they’re not working always at a hundred percent, perhaps because it’s not the correct alignment of everything, time, day, year, month.

Right. Of Pluto is not in, and Gatorade or whatever that is that they say, right. All this stuff, I mean that, that plays a role to, into all that because alchemy again is the manipulation. You have to make sure that the celestial bodies are in correct alignment before you do your process. No, that’s a very interesting thought. I haven’t heard. I mean if you think about stone circles, you know, there’s to where they’re like newgrange. If you go there on the, the spring equinox, you, you know, you get to see the light shaft coming through the, you know, the oculus and striking the stone at the center at, you know, just the right time of the year.

So that’s interesting. Our cathedrals are perhaps pyramids activated when Pluto’s in Gatorade. And the reason I say that is because, mate. But another thing that my buddy that’s been to the shot of a few documentaries at the pyramid of Giza, the, the room in which I believe Crowley did the cairo workings and got in touch with, with Iowa, which is important to he, the box there, I think it’s the king chamber. The king’s chamber, the queen’s chamber. I always get them mixed up. But the, wherever the boxes that’s broken. Broken. Mm hmm. That’s the king’s chamber.

I believe they’ve, you’re able to lay down in there. Now they don’t, they don’t let you chant or how many, any, anything if you’re there publicly. But if you’re in a private group they, you know, you can do whatever you want. And he goes with a certain group that, you know, they, they think outside the box. They’re not just stuck with the mainstream narrative of these things are only 6000 years old. Whatever, etc. Etc. Dynastic Egyptians, you know. Yeah. Their, two, their tunes. Yeah. All that stuff. And he laid down in the box and they started to chant at a certain frequency.

And he said that the box vibrated so violently while he was in it that he needed to get out. Now I just, before I hopped on with you, I was watching the new one of the newest flash movies. Spoiler alert for those that haven’t seen it yet, but I don’t know how much of a spoiler it is? But he’s able to walk through walls by lining up his molecules to be the same frequency as the wall. And he’s able to pass through the wall. He’s also able to. I didn’t even know about this, about flash. He’s also able to time travel and open up wormholes and stuff.

It gets crazy. I was watching it with my son, and it just makes me think of that. What if these people were able to, again, chant a certain frequency and dissolve out of this reality? We have idea. And I’m getting woo. But a lot of these ancient civilizations that disappeared, well, what if, what if they were able to ascend as a people together? Like how you’re saying, this congregation coming together in this cathedral, they hum a certain tone. Next thing you know, everyone disappeared to the 13th Amendment, whatever. You know, I’m saying, like, just thinking outside the box.

And the idea that, and the concept that Crowley was able to contact this allegedly outside entity, this Iowas, that prophesized to him their main text, really, of the thalemic order. Almost like you were able to get in touch with this ultra terrestrial extraterrestrial while being in that room. Now, like I said, woe to those who take the allegorical ramblings of these alchemists or occultists at a hundred percent, always have to use discernment with these people. Because I do think that some of this is mental. A lot of these aspects are mental. But, yeah, just an interesting topic that I’ve, a concept that I’ve always thought about that maybe they were able to attune themselves to this frequency and just piece out of this dimension, because, and that would account for all the similar pyramid structures around the world of different cultures and different civilizations who had nothing in touch with one another.

They never met. They were, you know, mesoamerican and mesopotamian, but they had the same gods, goddesses, iconography, symbols, structures. What if they were just tapping into something that, right. Was manifesting to them a certain type of way, according to whatever, wherever they were geographically. Right, you know? Yeah. So were they channeling. Yeah. Were they channeling structural, you know, forms or. It’s the whole mana stuff too. I mean, on the whole, you, you brought up that, that piece that this is. Yeah, the, the vimanas right there, supposedly these spaceships, that gods, and I mean, these mandalas too.

So reality is much, much, much stranger and more mysterious and profound than, you know, our day to day would let on. So that, you know, it’s the question is not whether or not these strange things are true, but knowing they are. Proceed with caution. And be careful. Be careful what you and who you invite in. And absolutely. This is my personal. These are my personal opinions. Right. Not everyone’s gonna agree. But that’s just what I. What I think. I think that the truth is stranger than fiction. And there is a lot more to this reality that we don’t even begin to comprehend.

Right? And there, we’re working on so many different layers and there. And just think about this. I mean, for those that are listening, that think that, oh, this is too. Woo woo. There is a grown ass man wearing this, sitting on some throne in some castle cathedral, maybe wearing this and passing it along to his entire family. So, back again. Doesn’t matter if you don’t believe it, because that occulted scaffolding, back to the same concept. Because they believe it. And if it is just role playing and larping, they’re doing it. Look at these guys. They’re having a great old time exerting their power over people.

And they believe it. They believe to have some power. Oh, the Habsburgs. Yeah, the Habsburgs. Oh. They just so happen to be that the entire family and their lineage, they would grow up in the same pythagorean palace that was built to the specifications of Solomon’s temple. And they’re all buried there. But I’m sure that’s just a coincidence, right? El Escorial is the place where they’re all buried, right? The Habsburgs and the. The palace there is supposedly built to the specifications of Solomon’s temple. But, hey, I’m just, you know, this is just. I’m sure it’s a coincidence, bro.

I don’t know. Yeah. The power is real. And the source right here. Look at this. Based on the floor plan of Solomon’s temple. Yikes. Wow. That’s incredible. I didn’t know that. Yeah. So it’s, you know, are you serving, like, who are you serving? You can’t serve two masters. You know, are you at the service of the divine and humanity and elevating our condition, or, you know, the antithesis of that, which is what we’re suffering through during our, you know, dark age that we’re in now. But these people are definitely controlling and manipulating and, you know, feeding off of, you know, the souls and lifeblood of humans.

Currently, 100%. Yeah, it can’t last, and it won’t last because they are in opposition to, you know, natural law. In divine law. And so, yeah, it’s a matter of time. You know, maybe that’s why they’re going for broke right now, is because they do know that their time is short. It’s like the movie Dark City. I still haven’t seen that movie, man. I gotta watch that movie. You better put that at the top of your list. Yeah, you’re gonna. Yeah, that was, that was the movie that they were trying to occult with the Matrix is what I’ve heard it put.

Because that. Yeah, for the Matrix, there was dark city. So check this out. I mean, look at this. The pantheon of the Kingsheen said interest is like the Ark of the covenant type of thing here. I don’t even know that can open up, but just very, very weird. Well, yeah, that, that picture, I mean, that kind of begs the question of what was the, what was the function of that sarcophagus, if that’s what it was? In the king’s chamber of the great Pyramid. Yeah. And there’s those stone. What is it called? The, you know, the shoot the seraphim or something.

I’m messing that up out. It’s outside of Giza where there’s. Yeah, I know. You’re talking, you’re talking about these. It’s like their hundred ton stone boxes. Yeah. And how did they even get them? How did they carve them? How did they. Such precision. And then they’re the buried. You know, they’re, you know, down tunnels and underground in ways that it’s. It would have been impossible without levitating them to actually carry them into place. And there’s like 30 of them or something like that. Yeah, no, it’s, it’s phenomenal. When you. There you go. Serapino Saqqara. I’ve trying to think of the name of it so they understood something about materiality that we don’t know.

They certainly didn’t carve these with copper chisels and dolomite hammers. You know, they’re, they’re highly, highly advanced precision structures which have nothing to do with those hieroglyphs. Yeah. These are done after the fact. Yeah. You know, I’ve, I’ve gone down this rabbit hole quite a few times and, and the, how they were able to get those things down there. I mean, that’s the, it’s really fascinating. And not only that, but the government here is all, is super shady. They don’t ever reveal anything. They don’t let people explore. Yeah. It’s all very tightly controlled by the Sahi whoas and his ilk.

Yeah. That’s interesting. That one right there. Go back. Doesn’t it look like it’s got those nubs on it? On the. On the top? Yeah. Yeah. You know, on those megalithic stones, they have those strange nubs. You see them on the, on some of the pyramids in Egypt. You see them in Peru, like in Cusco. You see them. God, they’re all over the world on megalithic structures. And speaking of electric universe theory, this guy, Andrew hall, who is part of the Thunderbolts project, he’s done a lot of, like, really well researched scientific investigation into various plasma effects, like terraforming nature and, you know, sort of biblical terraformation of the landscape with plasma strikes and that sort of a thing.

Um, like the stuff that Velikovsky gets into. But he looked at. He did a video recently looking at those nubs and talked in, hypothesized that they’re actually for distributing charge, dissipating charge, which is interesting and interesting. Yeah. I’d never heard about that before, but, yeah, I wouldn’t. The Egyptians were on some, some next level stuff, in my opinion. I think that they were. If it was the dynastic Egyptians or not or the, the ones before them, somebody was on to some knowledge that they, again, trying to alchemize and transmute. Right. And just be on the record.

Like, you mentioned Tartaria before. And I don’t, I don’t, I don’t latch on to that. I don’t subscribe to Tartaria because the stuff that I’m looking at is in America. So I call it american. I mean, feel that that’s fair play. And that whole thing is just so loaded, you know? And it’s also. It also strangely tends to be divisive within the community. So I guess it is. No, it’s not like, you know, I’ve seen the map when it’s, like, over there, you know, probably was an empire that’s, you know, worth worthy of investigation. But that doesn’t mean that all old world architecture that has really cool and profound implications as to, you know, and pointing to, like, a more enlightened human age like that doesn’t mean it’s all has to be under that banner.

I don’t understand that. No, I agree with you 100%. There are, there are. People get too lost in the sauce is the problem. And they focus on things that they. It’s like, okay, that’s fine. You know, scratch that next one off. Don’t focus so much on that aspect. I was like, what was it you. What was this purpose? This is amazing. Right? Like, but regardless of who built this is amazing feat. I don’t know. I don’t think it was the aliens. You know how they say, yeah, alien gap. Ancient astronaut theorists believe, you know, insert whatever crazy idea, you know.

Well, it’s interesting. I mean, I’ve found this true for a long time. Like, the co, closer you get to what, you know, quote unquote truth may be, the more opportunities there are to sort of find an off ramp, you know, whether it’s ancient aliens or whether it’s, you know, Tartaria, I don’t know. I mean, I just. I feel like, you know, what, what keeps me sort of on the rails is just looking at the stones. And again, as a builder, just listening to the story that the stones and the brick and the buildings have to say, have to tell them, you know, without having to even read a textbook, like you can, you can, you can read a building and it will have a story to tell, you know, about who built it, about how, about how it works, about its soul, you know, it functions like an organism, you know, so that’s my approach.

Yeah. It keeps me on. And the cathedrals, I mean, they literally have pictures on them that you could decipher for four days. And the iconography in there and just makes me think that the, the Greeks looked at building as algorithms incarnated, right, as these algorithmic beings. And that’s the. I believe that’s why the Pythagoreans worship number, because I think it all goes back to number and, and how reality is composed of, of number, like the matrix. I mean, there’s a reason why it’s the numbers coming all the way down. It’s a green. Well, synesthesia, maybe they were, they were making people experience something within those buildings, right? I 100% believe in that.

And I forgot what it, what it was. There was. I think it was the hunchback of Notre Dame or something like that. There’s somebody talking about. I forgot who was talking about. They’re like, if you don’t get the, this, the hidden message or something, watch the movie again or read the book again, and it’s like, if you don’t, if you don’t get it that time, keep reading until it clicks. I’m like, what? Because in that movie, they’re kind of like hint at, like some alchemical type of stuff. So I’m gonna have to check that out. But, and I love thinking about this sort of stuff.

I think that Victor Hugo wrote about the function of cathedrals. I’m going to have to go back now that you mentioned the hunchback in Notre Dame, I think in the original text, he talked about cathedrals having. Yeah. Some kind of higher purpose. So this is the guy that wrote. Yeah. Lunchbox. Notre Dame cathedrals. Yeah. So there’s something about that Notre Dame cathedral, which is one of the impressive ones, too. I mean, it’s really beautiful. Well, I mean, the idea that. That, again, you know, these fires having goofy backstories, the idea that that fire was just hapless, you know, construction workers that, you know, I mean, it would have been like trying to burn down an oakland, like an old growth oak forest, you know, like flicking a cigarette.

Like, it just. No, that. Those. When I see things like that, and I remember I was in Buenos Aires with my wife, who’s from Argentina, when that. And we were at a restaurant, and that came on the news, and it. That really hit me hard. And I just remember she got to visit it. I never visited it, but I just remember, um, welling up with tears. Like, it just. It was profoundly moving and disturbing and unsettling. Um, but it certainly seemed like, okay, the game’s afoot. You know, they’re. They’re attacking the heart of, you know, basically what we’re talking about.

You know, the alchemical nature of either the church or the buildings themselves. And now the remodel, um, which I think is nearing completion, it’s basically like a secular, you know, um, showcase of, you know, putting. Putting Christianity on display in a very kind of secular way, which is weird. And I remember reading that they removed the altar, and I was like, well, that’s. There goes. That’s. Magic is gone out of that building. Or is it. Does it have occulted scaffolding that will continue to resonate? I believe so, yeah, I did, and definitely. Is there a labyrinth at the bottom of that one? Look it up.

Good question. Yeah, that’s also another aspect of it. The labyrinth is important because there’s a lot of labyrinths. Let’s see here. It’s, I believe, does nothing. The looping, spiral walking. Yeah. Rosetta is at the center, is based on the 12th century stone labyrinth installed in the. For the cathedral. Notre Dame in charters, France. So. Yeah. Yeah. Has the. The entire thing is a labyrinth, brother. Like the floor itself. Yeah. Wow. It’s wild. Awesome. Yeah, dude, I mean, I. This is something that’s ongoing. I haven’t looked at architecture in a little bit because I’ve been focusing on other stuff, but it’s something that’s always in the back of my mind with with Falconelli, which I believe was also a group of people, or how you were mentioning earlier, some people are fabricated.

And I think that singular people, one person sometimes is actually a group of people. Right. In history. And I think Falconelli was one of them that was. I don’t know if he was trolling or he was actually trying to reveal some truth and maybe boast about her. So I don’t know what his, his intentions were, but he was on to something. Cuz he, if you read between the lines, he does drop some nuggets and it’s like. But I still can’t tell whose side he was on. And it’s funny because, right. Speaking of secret societies and the first person to ever mention the name Fulcanelli in a private note was the wife and model.

She was the model for the Statue of Liberty. And she was the wife of the man who designed the Statue of Liberty. Really? Yeah. And the, the lesseps, I think is the guy they were involved with, with them. And there were the, the lessep washing of the first people to. Was one of the people that in, that introduced the Statue of Liberty to the United States? Again, I don’t know, like I said, occulted scaffolding, some secret society connections. But yes, the Statue of Liberty is connected with one of the, the quote unquote last greatest alchemists, which was Falconelli, which as late as 1924.

So that’s really like, more like the statue of Columbia, which is reminiscent of the statue of Columbia that was at the centerpiece of the Chicago World’s Fair, which was said to have been either gold, you know, gilded in gold or actual solid gold. And then there’s questions about whether it was actually because that that fire was lost in like two or three different. That world fair, that those buildings were lost in two or three separate fires in the year and two after it closed. And that statue was the last thing to burn. And it’s almost, it seems like it was done ritualistically.

So there’s question, was it actually burned or was it actually secreted away to somebody’s palace somewhere? But that, you know, the statue of Columbia, I think, has more to do with. And the question is too, like, do you really believe the Statue of Liberty was built when they say it was? The base is certainly, you know, megalithic or appears to be star 40. So that seems to be extremely old. Yeah. And then the statue, they could have built it at the time they said they did and gifted from France to celebrate democracy, but just don’t know anymore.

Yeah, neither do I, bro? Just another. Just another thing to. To think about. Just. Yeah. Fun little fact there. Yeah. So, yeah, dude, I think. Thank you for inviting me. And this again soon for. I know this is for your show. We can do one for my show here soon and chop it up. I would love to do that. Juan. Yeah. It’s been really great to talk to you, man. This is, you know, and I would love to reach out to Topher, too, man. If you could. If you could put in a word there and hook me up with him, would be amazing because I just have so many questions in my mind to ask him about and talk about round buildings and, you know, the permaculture and all these things that he’s into.

Yeah, that’d be great. Thank you. And really nice to speak to you, man. Yeah, definitely feel. Feel a resonance and a kindred. Kindred spirit there. Likewise, brother. I appreciate you. Thank you. How old is your son? You mentioned you have a son. Yeah, I have two. One of them is one and the other one is five. Right on. All right. Yeah, right in there. My oldest just. Just moved out. He’s heading to college, and he’s actually heading to a firefighter academy in Tacoma. So only one. And then. And then I have two. Two more sons. Three teenage boys.

Yep. Yeah. Yeah, I got two boys, too, so it’s awesome, man. Well, yeah. Good times. Appreciate you, bro. We’ll chop it up here again soon on my. My channel. All right, brother. Look forward to next time.
[tr:tra].