These precedences allowed the manifestation of many of the most beautiful and highly crafted architectural edifices of antiquity. As with other areas concerning KMT, its architecture was not arbitrary by any means. Every conceivable aspect of architectural design contributed to its wholistic form. Hence, the architecture can be interpreted as the organic unity of science, art and religion fused together in a coherent form. It was a harmonic synthesis of all the developments of civilization which was systematically embedded within the architectural design.
These repositories of knowledge were crafted and designed by master-builders and their symbolic devices affected the senses by evoking understanding through revelation by instant vision. "This same architecture transmits a subliminal message into the consciousness of any individual who is spiritually and mentally prepared to receive it." (Browder, 1992) The designers of this architecture affected an intense desire to establish a sacred place for a dialogue between human form and its spiritual essence. This spiritual essence was captured through the use of sacred principles (geometry) developed over thousands of years by observing the natural environment. "Because geometry is an image of the structure of the cosmos, it can readily be used as a symbolic system for understanding various features of the universe." (Pennick, 1980) Thus, Kemetic architectural edifices were embedded with geometry in order to reflect the purest forms of nature and the universe. What came forth were structures that replicated the macrocosm (the universe) in the form of a microcosm (the architecture). This microcosm manifested the use of esoteric expression through "sacred" geometry.
Relevancy
Geometry is the fundamental principle which permeates every aspect of nature. Practically any place one looks, geometry constitutes the universal continuum of life. "Geometry exists everywhere in nature: its order underlies the structure of all things from molecules to galaxies, from the smallest virus to the largest whale." (Pennick, 1980) The forms of crystals and other natural objects such as the spiral around the stem of a plant that leaves grow, the pads on a cats foot, the horns of some animals, the shapes of certain shells, as well as the shapes of flowers, ferns, butterflies and water currents all possess apsects of geometrical proportion. "It follows that all shapes, surfaces, and lines are arranged in conformity with the proportions inherent in nature and reflect ideal systems of beauty." (Ardalan and Bakhtiar, 1973) Therefore, one can deduce that geometry refers to mean not only the processes of nature but knowledge of the laws and principles which govern things and which are themselves related to the metaphysical order.
Following the forms of nature, the artifact (art and architecture) have been consciously planned, since the earliest of times, to be based upon geometrical principles. "These systems, although initially derived from natural forms, often exceeded them in complexity and ingenuity, and were imbued with magic powers and profound psychological meaning." (Pennick, 1980) This "sacred" geometry is fundamentally linked with the nature of the universe. And because geometry is an image of the structure of the cosmos, it can be used as a symbolic system for understanding various features of the universe.