Into the Stargate with William Henry

Published on Nov 20, 2012 by KidPuja

William Henry is an investigative mythologist and author of ten books on ancient mythology and neo-archaeology with a Stargate twist. By applying the latest theories in science and consciousness to ancient myths of the gates of the illumined gods, including Sumerian, Egyptian and Holy Grail gateway myths, he hopes to uncover the secrets of the guarded, by such groups as the Illuminati. His latest book, Oracle of the Illuminati, states that we are on the verge of rediscovering the sacred science of creating peace on Earth.

“A stargate may be a place on Earth that is a shamanic-trance portal to other worlds where energy pulsing(ringing) from our star, from other stars or star systems is easily received.”

• William Henry (American Rite) DVD

"The cosmos itself is what mattered to our ancestors.  Their lives, their beliefs, their destinies – all were part of this bigger pageant.  Just as the environment of their temples was made sacred by metaphors of cosmic order, entire cities and  great ritual centers were also astronomically aligned and organized.  Each sacred capital stated the theme of cosmic order in terms of it's builders' own perceptions of the universe.  Principles which the society considered its own – which ordered its life and gave it its character – were borrowed from the sky and built into the plans of the cities."

• E.C. Krupp, Echoes of the Ancient Skies

What would it mean to us as individuals and collectively if we were to realize and recognize that stargates and urban portals were emerging in our cities? And what if these urban portals containing stargate symbolism were capable of being catalyst in both personal and collective transformations? Guess what, over the past several decades art and architecture has popped up in many of our cities and public venues that has been arranged in such a way that they can be utilized as portals or stargate devices! These ‘gateways are hidden in plain site just waiting to be recognized and utilized by those of us who are aware of them!

Modern portals in today's day and age are in many cases being placed on sacred landscapes, just as churches and sacred monuments were in the past. These monuments are springing up on pieces of land that have in many instances been held sacred for hundreds if not thousands of years. Now this is where it starts getting interesting. While some of the modern art and architecture has surely been aligned with both sacred sites and the heavens(stars) intentionally and consciously, others have been developed and pieced together unconsciously by the artist and architects, possibly even divinely arranged!

Now initially some may consider the aligning of this architecture with sacred sites and the stars a possible synchronicity or even coincidence. What I plan on showing is that when we begin to have coincidences and synchronicities that continually pile up in regards to sometimes the park and other time individual monuments that at some point they may no longer be coincidences or synchronicities, but messages! The uniqueness of these messages is I believe meant for us, by us I mean those who can tune into the symbols, become aware and recognize their hidden meanings.  What I hope to demonstrate is that the art and architecture discussed today can be utilized as transformational tools or “tools of transformation” This is a the term fellow colleagues Dr. Mark Gray, William Henry, and myself have started to use on occasion to describe these incredible monuments containing gateway and stargate symbolism. These monuments are tools that can be used for working on our light bodies, sparking our imaginations, and lightning our hearts! All of this I believe can be accomplished when we can begin to view these monuments from a new perspective. Once we begin viewing these monuments in a new light this can be a catalyst to viewing ourselves, each other and the world around us from a whole new perspective!

This is the power of the Stargate symbolism!

Today I would like to discuss a Stargate Park that is located in Detroit Michigan. In the heart of downtown Detroit is an incredible park named Hart Plaza, and I tell you what, you can literally feel the energy ‘pulsing’ through Hart (heart) Plaza! Hart Plaza sits at the base of G.M’s headquarters and has stargate and gateway symbolism abound, leading to the re-naming and nick name Stargate Detroit!

Hart Plaza may be an urban portal or even a stargate considering the large amounts of gateway and stargate symbolism found on the park grounds. Let me clarify the kind of stargate we will be discussing today. A stargate can be perceived or referred to in several different ways. There is of course the classic stargate made popular in science fiction programs. Generally in that instance it will be portrayed as a transportation device that can relocate people or objects across galactic space from locations on Earth at less than the speed of light. This is very cool yet a little different than the kind of gateway we will be speaking of today. The kind of stargate we will be referring to has best been described by investigative mythologist William Henry as, "A place on Earth that is a shamanic trance portal to other worlds where energy pulsing (ringing) from our star, from other stars or star systems is easily received." What I hope to demonstrate is that one of these amazing devices may lie hidden in plain sight within the art and architecture of Hart (HEART) Plaza in downtown Detroit.

GIZA – ORION – HART PLAZA CORRELATION THEORY

Viewing the blue print and aerial images of Hart Plaza what you recognize is that several pieces of architecture in Hart Plaza are aligned and correlated possibly to the Giza Pyramids and Sphinx! I was surprised to see that Hart Plaza’s amphitheater, fountain, and pyramid aligned precisely with the ancient Egyptian pyramids. While this could easily have been dismissed, there was another feature begging for attention. The path (causeway) leading from the pyramid of Khafre to the Sphinx in Egypt was identical to Detroit’s Dodge Fountain and the path leading to the Egyptian styled obelisk (Pylon)! Pylons mark the entrances to Egyptian temples!

Several correlating “coincidences” between the plaza and the Giza layout warranted further investigations . Regarding the layout of the Giza plateau, a relatively well known theory is Robert Buval's Orion Correlation Theory. Briefly, he believes and has rather successfully demonstrated, that the three main pyramids at Giza may have been aligned with the belt stars of the constellation of Orion. This leads to the question:

Could Detroit's (Hart Plaza), be aligned with both the Giza pyramids and the stars while utilizing ancient Egyptian stargate technologies? And if so, why?

So what I would like to do to start off with is go through the few pieces of art (amphitheater, fountain, pyramid, and Pylon) in Hart (heart) Plaza that may correlate to the Giza Pyramids and Sphinx .Let’s see if we can find any commonalities or even coincidences between the two in hopes of making a legitimate comparison.

HART PLAZA AMPHITHEATER

In regard to the amphitheater, this is where large crowds of party- goers feel the vibrations and tones being given off by whoever happens to be performing on stage. I personally cannot forget the feeling while ‘vibing’ at the electronic music festivals. As the crowd feeds off the deejay, the deejay feeds off the crowd, and before you know it the entire amphitheater is vibing together, as one. Amphitheater are transmitters and receivers of frequency and vibration (tunes & tones). These amphitheaters are instrumental to many stargate parks!

As William says “Music is one of the highest forms of spiritual and mythological communications. It holds the keys to deciphering the mysteries of the ancients. This is why many o f these parks have amphitheaters. Sound, tunes, or tones can trigger memories, activate emotions, and open our hearts.” William Henry: City of Peace

 

HORACE DODGE AND SON MEMORIAL FOUNTAIN

Located in the heart of Detroit’s Hart Plaza is the Horace Dodge and Son memorial fountain, brought into fruition by sculptor Isamu Noguchi. It should be noted that Mr. Dodge’s first name was Horace (Horus?) as was his son’s. The stainless steel fountain is composed of two legs topped by a ring, approximately thirty feet above a circular, mound- like pool. The fountain contains three hundred jets and three hundred lights, and has a very intricate and computerized lighting and nozzle functions.

Note the plaque: An engine of water at the gateway to a great city! This is the first time Hart Plaza will be referred to as a Gateway, but not the last!

According to Isamu Noguchi, “ I wanted to make a new fountain, a fountain in which represents our times and relationship with outer space!” He did a mighty fine job of it, at night when the 300 lighting functions are flashing and the jets of water are blasting out the bottom it does sort of resemble a U.F.O. and then on sunny days people go down and try to play in the rainbow that emerges from this amazing fountain.

The fountain is dedicated to Horace (Horus) Dodge and son, Horace Jr.(Horus Jr.). In Egyptian mythology there was in some cases a Horus the Elder and also a Horus the Son! Hmm? Another fun fact, Horace dodge was born in Niles Michigan. Like the Nile River?? When Horace passed away he was laid to rest with his brother John in the Woodlawn mausoleum in Detroit. The brother’s resting place was done in an Egyptian styled architecture and is flanked by two sphinx and surrounded by obelisks!

Did Horace Dodge take on the archetype of Horus the mythological figure?

The Horus memorial fountain contains one final aspect of Egyptian symbolism yet to be discussed.  Although the fountain may be dedicated to Horace and son, the shape of it could surely symbolize the ancient Egyptian goddess Nuit and her husband Geb! In ancient Egyptian mythology the sky itself was venerated as the goddess Nuit, she was considered the barrier separating order from chaos. In many instances Nuit is portrayed with her hands and feet touching the ground, and her body in an arched position. Her arms and legs can seemingly represent the four pillars in which the sky rests. Her husband Geb (the earth) was usually portrayed under her arching body (sky). Geb (the earth) is said to symbolize the valleys and hills or even the primordial mound. Nuit and Geb were said to have had five children including Osiris, Isis, Nephthys, Set, and Horus the Elder! A sacred symbol of Nuit was the ladder (ladder to heaven), used by Osiris to enter the heavenly skies. Last but not least, Nuit can also symbolize resurrection and rebirth! So while the fountain of ‘re-birth’ may be dedicated to Horace (Horus) and Son, The symbolism could perceivably represent the entire family. Nut(s) right?

We will address the question if Noguchi realized the symbolism that he was incorporating into this amazing fountain in a moment. But remember he did say he wanted to make a fountain symbolic of our relationship with outer space! Could he have realized he symbolically represented Nuit, her family and possibly the constellation of Orion all in one fountain? I came across this relevant quote from Graham Hancock and Robert Buvaul’s book Talismans (Secret Faith, Secret Cities). They mention,“There are numerous exhortations calling upon initiates to make copies on the earth of a region of the sky called the Duat, incorporating the constellation of Orion – associated with the god Osiris – and the star Sirius, associated with the goddess Isis. This was the sky-region believed to be the location of the ancient Egyptian Netherworld, where souls journeyed and were judged after death. It was therefore thought to be vitally important to gain foreknowledge of it and of the trials that awaited the soul there. We learn from the Book of What is in the Duat (circa 1400 BC) that one way to attain this gnosis was to build copies on the ground ‘of the hidden circle of the Duat in the body of Nut (the sky).” Thats what Noguchi perceivably did! Built a copy on the ground of the hidden circle of the Duat in the body of Nuit!

HART PLAZA PYRAMID

So will there be any symbolism to correlate with the final pyramid in Giza here at Hart Plaza? Sitting in the shadow of the G.M. Renaissance Center sits Hart Plaza’s concrete step pyramid which happens to align perfectly with the final pyramid in Giza!

THE ‘PYLON’

Preparing to make your way through the en-trance to the plaza, your attention is immediately drawn to the sculpture ‘Pylon’. The Pylon stands 120 feet tall with a width of 7 feet, it strongly resembles an Egyptian obelisk, except this sculpture appears to make a quarter turn between the bottom and top. This symbolism could easily be interpreted as a DNA helix, or even the stairway to heaven. The Pylon was commissioned to sculptor Isamu Noguchi as a companion piece to his previous Dodge Fountain. In ancient Egypt Pylons marked the entrances to Egyptian temples. Isamu Noguch said in regards to the Pylon, “ It was done by nature originally. You might call it wind. It relates to the atmosphere, wind, to space flight and all aspirations we have today.” So in Noguchi’s own words he said the Horace and Son fountain symbolizes our relationship to outer space, while the Pylon relates to space flight!

Isamu Noguchi not only did several of the key pieces down at Hart Plaza, but also the general layout and arrangement of the monuments. This begs the question : Did Noguchi layout Hart Plaza intentionally to symbolically mimic the Giza Plateau and possibly the heavens? Or did something els occur? I think a brief history on Noguchi may help to clarify. Isamu Noguchi was born in 1904 and passed on in 1988. As a boy he spent most of his time in Japan. As a teenager he became interested in art and sculpture and followed his passion studying around the world.

Noguchi studied in New York, Paris, London, and Japan. His artistic capabilities flourished and he became a world famous sculptor. Noguchi later immersed himself in the Surrealist approach of exploring one’s own psyche and using art to express hidden emotions and subjective perceptions.  Surrealism was an art movement in which artists aimed to express the unconscious, non-logical sensations and inspirations. Surrealist art often created hallucinatory, dream- like images, in realistic style. Isamu Noguchi felt that art could be a catalyst for individual insight and change. He said, “New concepts of the physical world and a psychology may give insights into knowledge, but the visible world, in human terms, is more than scientific truths. It enters our consciousness as emotion as well as knowledge; trees grow in vigor, flowers have evanescence, and mountains lie somnolentwith meaning.

The promise of sculpture is to project these inner presences into forms that can be recognized as important and meaningful in of themselves. Our heritage is now the world. Art, for the first time, may be said to have a world consciousness.”

In 1947, approximately 29 years before the Face on Mars was photographed by the Viking Orbiter 1, Noguchi created a model for a 1KM. Earthen structure which was to be named the ‘Sculpture to be Seen from Mars’. Synchronistically this happened to be the same year of the ‘Roswell Incident’. Although this sculpture was never realized it would have consisted of a face made from mountains of sand, with a stone pillar a mile high to represent the nose. Isamu wanted to make an image that would only make since when viewed from at least the distance of the moon or Mars. He intended this monument to inform extraterrestrials that – before the nuclear destruction of the race – a civilized life form had once occupied planet Earth! Could the Face on Mars also have been built in this recognition? If so, Mr. Noguchi was able to perceivably download this information decades before it was discovered by NASA. I feel this definitely lends credence to the possibility of Mr. Noguchi aligning Hart Plaza’s sacred art and architecture with the Egyptain pyramids and possibly stars(heavens), albeit consciously or not.

STARGATE-WAY SYMBOLISM

Although Hart (heart) Plaza was built in the 70’s several new monuments emerged a few years back. These new monuments for the most part were gifts to the city of Detroit on it’s 300th birthday. These new monuments would be companion pieces for Noguchi’s previous fountain and Pylon, which in the artists own words are “symbolic of our relationship to outer space”. It should be of no surprise that they just happen to contain stargate and gateway symbolism!

THE GATEWAY TO FREEDOM

Detroit and the area that Hart Plaza now occupies was also One of the last stops on the underground railroad. It became known as the Gateway to Freedom!

Sculpture by Ed Dwight

 

TOWER OF BABEL (GATEWAY TO THE GODS)

Halfway in between “The Gateway to Freedom” sculpture and the Horus and Son Fountain sits this monument that highly resembles the Tower of Babel, Gateway to the gods. Note the cameras around the top, could these be symbolic of the Watchers? At this point it is important to point out the Gateway references thus far. Remember the Horace and Son Fountain sits at the Gateway to a great city. The last monument we looked at was the Gateway to Freedom, and here we have a possible symbolic representation of the Gateway to the gods! And as if that wasn’t enough Gateway symbolism check out the Transcending Gateway!

The ‘Transcending’ gateway is surely the focal point of Hart PLaza! Transcending is a five-story stainless steel open ring, surrounded by fourteen, six-foot granite boulders with bronze reliefs. The sculpture was a gift to the people of Detroit on it’s 300th birthday. A national competition was held to determine who would be commissioned to design the sculpture. The privileges were finally rewarded to a local artist, David Barr, and also Sergio De Giusti. David Barr says the sculpture represents a gear protruding from the Earth, and he decided to leave the arch open at the top to symbolize labor’s unfinished work. That being said, most Detroiters refer to this monument simply as the “Stargate”! The sculpture weighs in excess of 30 tons! Around it’s base, following a green granite spiral, are fourteen Vermont granite boulders-the work of Sergio de Guisti. They are meant to remind us of the sacrifices and achievements of the American workers.

Sergio de Guisti has said,“We wanted to create something that would work well in its simplicity with the work of Isamu Noguchi (the creator of Hart Plaza’s Horace E. Dodge Fountain). It is spiritual and geometric without a lot of excess.”

Among the large granite boulders there is one in particular that has an amazing bronze relief of Dr. Martin Luther King on it. What is Dr. King doing under the ‘Transcending’ monument? Well this particular piece of landscape that Hart Plaza and ‘Transcending’ now occupy is where Dr King and 100’s of thousands of freedom fighters gathered previous to him delivering his “I have a dream” speech for the very first time!

Dr. Martin Luther King first gave his “I Have a Dream” speech here in Detroit on June 20th 1963. The speech later reached an even larger audience when he repeated its famous phrases at the Lincoln Memorial in Washington on August 28th of the same year. Police estimated the Freedom Walk crowd at 125,000. The day after the event, The Detroit Free Press labeled it "the largest civil rights demonstration in the nation's history." The walk began at Woodward and Adelaide and continued down Woodward to Cobo Hall. It lasted about an hour and a half. Marchers gathered arm in arm around the area that Hart plaza now occupies ,they carried signs and sang songs (Songs included "We Shall Overcome" and "The Battle Hymn of the Republic."). Dr. King then marched next store where he delivered his I have a Dream speech for the first time in Cobo Hall.

I think Dr Martin Luther King may have tapped into some of the transformational energies pulsing through Hart Plaza, He was feeling it! I say this because Dr. King concluded is uplifting speech with words that transcend time. His words echoed through Cobo hall, “I have a dream this afternoon that the brotherhood of man will become a reality in this day. And with this faith I will go out and carve a tunnel of hope through the mountain of despair. With this faith, I will go out with you and transform dark yesterdays into bright tomorrows. With this faith, we will be able to achieve this new day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing with the Negroes in the spiritual of old: Free at last! Free at last! Thank God almighty, we are free at last!”

I think this phrase is worthy of repeat, “And with this faith I will go out and carve a tunnel of hope through the mountains of despair. With this faith, I will go out with you and transform dark yesterdays into bright tomorrows.” I think this is something we can all do by becoming aware of this transformational symbolism, tuning into it, and Transcending these Gateways to Freedom!

THE SPIRIT OF DETROIT

The “Spirit of Detroit” was one of the first sculptures to emerge in Stargate Detroit. It was done by artist Marshall Fredericks in the mid 50’s. The seated figure is said to represent the spirit of humanity, the sphere with emanating rays symbolizing God, and in his right hand a family symbolizing human relationships. The back drop behind the Spirit is known as the “Symbol Wall”. It reads “Now the Lord is that Spirit and where the Spirit of the Lord is, there is Liberty.” (2 Corinthians; 3:17).

A funny story regarding “The Spirit”, In 1982 shortly before St. Patrick's Day, Detroiters awoke to large green footprints (painted) leading from the “Spirit of Detroit” across Woodward to a tall Manzu sculpture of a demure nude lady washing her hair in a pool in front of the One Woodward building. The Irish and Detroiters loved it. “Their Spirit had spirit!” This even earned the sculpture the new nickname “The Jolly Green Giant”. LOL! Thats Detroit!

So what does the symbolism incorporated in the Stargate art and architecture mean for us both as individuals and collectively? By becoming aware of the symbolism and viewing this art in a new light, or from a new perspective, this is a transformation in of itself. And when we recognize these monuments are named in the recognition of transformation, can’t we begin to use them as such? Can’t we begin to view this Stargate art and architecture as ‘tools? ‘Tools’ that can be used for working on our light or rainbow bodies? ‘Tools’ for sparking our imaginations, raising our consciousness and opening our hearts? Absolutely! And maybe most importantly when we begin to follow the path that these monuments and architecture lead us on through the discovery process of synchronicities, coincidences and archetypes, that this can result in a sense of relationship to the interior workings of life, a sense of participation in the movements of the Universe. Thats the power of Stargate Detroit.

Detroit’s Star – Augustus Woodward

From it’s inception Detroit was envisioned and laid out as a Gateway to the stars!  In my previous article, Stargate Detroit (Transcending The Gateways To Freedom), I discussed the sacred symbolism that has emerged in the concentrated area that Hart Plaza now occupies.  A natural question is whether this amazing symbolism spreads out through the streets of Detroit and beyond? The answer is: absolutely!  In this article we will take a 3 block journey from Hart Plaza to Campus Mars.   Before we look at some of the sacred art and architecture that radiates from Hart (heart) Plaza, it is important to take a brief glimpse at the history behind Detroit’s city planning and the symbolism which it incorporated.

Augustus Brevoort Woodward (born November 1774, died July 12, 1827) was the first Chief Justice of the Michigan Territory. In that position, he played a prominent role in the planning and reconstruction of Detroit following a devastating fire. Then President of the United States, Thomas Jefferson, appointed Woodward on March 3, 1805 as the Michigan Territory's first Chief Justice. Woodward arrived in Detroit on June 30, 1805, with the city in ruins from the devastating fire of June 11, 1805.  Few buildings were left standing.

Woodward was a Freemason, founder of the first complete public education system in America, and was known to some as Jefferson’s disciple.  While in Rockbridge County in 1795, he was received in Monticello and admitted to Thomas Jefferson's intimate circle. This was the beginning of a lasting friendship.  Augustus moved to Georgetown in the District of Columbia.  It was around this time Augustus became acquainted with Charles L'Enfant and his city plans for Washington.  On the inside cover of his notebook he actually pasted a copy of L'Enfant's plan for Washington with the location of his ten properties marked.

Arriving shortly after the fire that leveled Detroit, Woodward left his imprint on the layout of the streets of Detroit. In Detroit on Tuesday, June 11, 1805, a driver hitching up his cart to get a fresh supply of flour, knocked out his pipe, and a live coal was blown into the hay.  In less than two hours, the whole town was in flames and all that remained of the town were charred chimneys.  Hull, Woodward and Bates formed themselves into a land board to plan a layout for the new city.  They asked the populace to wait patiently.  Woodward was chosen as a committee of one to lay out the new Detroit.  It has been said that Augustus Woodward hoped to live up to the new Detroit motto, “We hope for better things, It shall rise again from the ashes.”  The Detroit motto appears to be an obvious “Phoenix” reference proposing a rebirth for the city of Detroit.

"Seramus Meliora; Resurget Cineribus"  (We hope for better things; it shall rise from the ashes)

It was a year and a half before Woodward's plan was completed, and you can see his former friend, L'Enfant's imprint.  President and Freemason George Washington commissioned Pierre L'Enfant, a French architect, to design the new city of Washington. The geometric plans of L'Enfant's radial city, influenced by André LeNotre's design of Versailles and Christopher Wren's un-executed plans for London, featured two focal points: the Capitol and the President's House. About them as hubs, broad avenues radiate outward like spokes of a wheel, superimposed over the regular north and south grid pattern.

When viewing a map or satellite image of D.C. a peculiar pattern emerges. It becomes rather apparent that L’Enfant had incorporated both Freemasonic and astrological symbolism.  Two symbols that are easily made out are the compass and square, as well as the pentagram. Some feel this may have been done to create an energetic effect. The symbol of the pentagram can represent several symbolic personifications, but in reference to the D.C. layout author David Ovason says, “The Egyptian hierogram for the star Sirius consists of three shapes: a five-pointed star, an oval, and an obelisk. Amazingly, this is just what we find in stone in Washington D.C. The entire city is dedicated astronomically to the star Sirius and its occult deities.”  It should be noted that the star Sirius was symbolic of Isis to the ancient Egyptians.

Some question the likelihood of L’Enfant laying out D.C. with hidden masonic and astrological symbolism. They believe the eye sees what the eye wants to see, and since most of the documentation has disappeared, there is no actual proof.  However, the proof may be hidden within the blue-prints for downtown Detroit designed by Woodward.  Remember he was not only an  acquaintance of L’Enfant, but was basically watching over his shoulder and copying down his plans into his personal note book.  Surely Woodward recognized the symbolism and it’s significance that L’Enfant desired to incorporate.

Woodward's Detroit City Plans (1807)

L'Enfant's D.C. City Plans

Augustus Woodward then came to Detroit and proposed street plans that incorporate both the Freemasonic scale as well as the pentagram. This would appear to lend credence to the likelihood that L’Enfant’s D. C. symbolism was also quite intentional.  Was Detroit originally laid out by “Jefferson’s Disciple” to create a Freemasonic energetic effect containing Sirius symbolism? I believe so!  As often happens in city politics, the hub-and-spoke design in Detroit was not carried out in its entirety, and a traditional grid pattern was overlaid on top of the existing streets, but not before some elements had been implemented. Most prominent of these are the five main "spokes" of Woodward, Michigan, Gratiot, Grand River and Jefferson Avenues.

It is a remarkable and little-known fact that Detroit was originally designed by a mason (Woodward), and contained hidden symbolism within the street layout.  As mentioned, Woodward’s intentional symbolism was never fully realized or recognized, That said the same symbolism has re-emerged, this time apparently unconsciously, over the last few decades! Almost as if the time was right!  Not just once, but twice.

A very important ceremony to the masons is the laying of the cornerstone ceremony.  Augustus Woodward was actually present in 1792, “at the ceremony of laying the cornerstone of the District of Colombia at Jones Point.”    Momentarily I will refer to the next monument that will become a piece to the unconscious puzzle we are about to weave together, the reunion of the masons!

The Memorial To Joe Louis

On the corner of Woodward (Augustus Woodward) & Jefferson Ave. (Thomas Jefferson) is the Memorial to Joe Louis, the famous boxer.  It is a sculpture of the legend’s forearm hung from a pyramidal contraption literally on it’s own cornerstone.  The sculpture was done by artist Robert Graham and commissioned by Sports Illustrated magazine to commemorate Joe Louis.  Joe Louis grew up in Detroit Michigan and was a boxing champion from 1937-1949.    The monument is situated so that it brings Campus Martius in to alignment with the Pylon and Hart Plaza. Symbolically speaking The Fist is directing energy from Campus Martius (Mars) to the ‘Pylon’ (transmitter & receiver) that graces the en-trance to Hart (heart) Plaza (Stargate Detroit)!  One final piece of symbolism is that the pyramidal structure suspending the fist highly resembles the contraption used by Freemasons in the laying of the cornerstone ceremonies. And of course it is actually hung on it’s own cornerstone!  That brings us to our next sculpture which fits quite well into this symbolic equation.

 

Freemasonic George Washington

About a block and a half to the east of Hart Plaza and the Memorial to Joe Louis, Freemasonic George  Washington stands tall in front of the Old Mariners Church off Jefferson Ave. The sculpture was done by  Donald DeLue. This monument of the “father of our country” dressed in full masonic regalia was gifted to the  city of Detroit by the Masons of Michigan “in commemoration of ten centuries of Freemasonry (966-1966),”  according to one side of the monument’s pedestal.  The other side of the pedestal reads “The Father of his  country, First President of the United States 1789-1797.    First in war, first in peace, first in the hearts of his  country men.”

Since we are speculating on unconscious symbolism embedded in Detroit, I am going to suggest that  Freemasonic George and The Memorial to Joe Louis, which are both in close proximity, are unconscious  companion pieces!   Although these two monuments were built decades apart from each other, and a block  away from each other,  when viewed together, the two monuments appear almost identical to images of George  Washington laying the cornerstone to the Capitol in Washington D.C.  Was this done intentionally, or unconsiously?  To sum this up, Freemasonic George (Father of our country) stands just down the street from the Joe Louis Memorial hung from a pyramidal contraption on its own cornerstone.  That cornerstone it is suspended above just happens to be on the corner of Woodward Ave.(Augustus Woodward) and Jefferson Ave. (Thomas Jefferson). All of this resides in the heart of city plans that were originally designed by Pierre L’Enfant and “borrowed” by Woodward! This is a symbolic reunion of the Masons, and it all takes place directly in front of Hart (heart) Plaza!

 

The Guardian (Building) of Stargate Detroit

"We no longer live in a leisurely age…the impression must be immediate, strong and complete–color has this vital power.”   

• Wirt C. Rowland

Continuing our journey from Hart Plaza to Campus Martius (Mars) we encounter the “Guardian” of Stargate Detroit.  Glistening in an orange hue, Detroit’s art-deco styled Guardian Building towers above Woodward Ave, situated directly between Hart Plaza and Campus Martius (Mars).  The Guardian Building is many times referred to as “The Crown Jewel” of the Detroit sky line.

The building was originally called the Union Trust Building and is a bold example of Art Deco architecture, including modern art designs.    It was brought into fruition in the late twenties and designated a National Historic Landmark on June 29, 1989.  The main frame of the skyscraper rises 36 stories, capped by two asymmetric spires, one extending for four additional stories.  The exterior blends brickwork with tile, limestone, and terra cotta. The Guardian was the world's tallest masonry structure when it was completed. Its nickname, Cathedral of Finance, alludes in part to the building's resemblance to a cathedral, with its tower over the main entrance and octagonal apse at the opposite end.  During World War II, the Guardian Building would serve as headquarters for war time production when Detroit was called, the Arsenal of Democracy.

Wirt C. Rowland, of the Smith Hinchman & Grylls firm, was the building's architect while Corrado Parducci created the two sculptures (guardians) flanking the Griswold Street entrance.   Rowland, the firm's noted young designer, was only in his early 30's when he reshaped Detroit's skyline with his Buhl, Penobscot and Guardian buildings along with Music Hall.

The Guardian building website mentions, “Designed by Michigan architects; erected by Michigan contractors; built by Michigan artisans–the Guardian Building is virtually a temple of Michigan commerce and ingenuity.”

A wonderful description of the interior of the building comes from the Buildings of Detroit website: “The interior, however, was as elaborate, if not more so, than the exterior. Upon stepping through the doors, clients of the bank would enter the 150-foot-long main lobby, with a three-story vaulted ceiling above them, that consisted of an Aztec design with multicolor, interlocking hexagons of Rookwood pottery and Pewabic Tile. The giant columns in the room are formed from Travertine marble imported from Italy. At the base of each of these columns is a block of black marble imported from Belgium. No more of this black marble remains in the quarries from which it was mined.  And that's not the only rare marble in the lobby.

Numidian marble was chosen for its unusual blood-red color. No mines in the world quarried it at the time, so Rowland went to Africa, where a mine that had been closed for 30 years was reopened just long enough for Rowland to pick out the marble he needed for the lobby. And for a ceiling of such height, the main banking lobby is unusually quiet. That's because the ceiling is entirely acoustical, absorbing sound. A 3/4-inch mat of horsehair covered the cement-plaster ceiling. A perforated canvas was placed over that layer and painted.  Anthony Eugenio stenciled and cut the entire ceiling himself. A crew of 10 painters took on the job, using a pallet of 16 colors. Solid gold leaf adorns the sunburst arches; the rays of the sunbursts spread from the center of the ceiling down along the columns.”

In the banking hall there is a giant mural of Michigan and Her Industries painted by Ezra Winter.  Winter was born in Traverse City Michigan.   The goddess Michigan holds two cornucopias and appears to be emerging from a radiant gateway.  Climbing up her body are seven diamond shaped energy centers (chakras). Above her head two serpents coil their  way up the scales of justice (Maat).   Underneath the mural is an Aztec styled gateway used for the exit.

One final and many times forgotten feature to the interior of the Guardian is its underworld, or basement. In Detroit’s hay day a large portion of citizens kept their saving in the secure vaults beneath the Guardian. The three story basement that includes the vaults was also at one time a gun range for security. Now it is used primarily for conferences and meetings.

As mentioned previously, atop the guardian building are two large spires that take on the shape of octagonal 8-pointed stars.  A spire is a tapering conical or pyramidal structure on the top of a building, particularly a church tower. Etymologically, the word is derived from the Anglo-Saxon "spear".  Symbolically, spires have two functions. The first is to proclaim a martial power. A spire, with its reminiscence of the spear point, gives the impression of strength. The second is to reach up toward the skies.  A spire declared the presence of the church at a distance and advertised its connection to heaven.  Could the Guardian Buildings star shaped spires be symbolically pointing to a bridge or connection between the earthly realms and the heavenly realms?  Up until World War Two there was a “Sky Fountain” atop the North Spire.

The “Sky Fountain” consisted of eight colored search lights that revolved simultaneously in opposite directions while oscillating vertically.   The colors of the rainbow were literally beamed into space.  We will talk more momentarily on the significance and symbolism of the rainbow, and the rainbow bridge.

The spires on top of the Guardian that connect the heavens and earth actually take on the shape of an octagonal eight-pointed star.  This symbol carries various meanings associated with each culture that utilizes it. The are eight paths in the way of Buddha and eight immortals in Chinese tradition. However, the universal symbolism of the eight-pointed star is one of balance, harmony, and cosmic order. Its pattern is associated early astronomy, religion, and mysticism. It is symbolic of both stars and humanity’s earliest attempts to understand and communicate the order and unity inherent in Creation, nature’s rule.  The roots of the eight-point star symbol are in early astronomy. The eight lines are symbolic of the four corners of space (north, south, east, and west) and time (two solstices and two equinoxes).

Abraham, the shared prophet of the monotheistic religions (Judaism, Christianity, and Islam) lived in the Sumerian city of Ur. Excavations from Ur reveal early use of the eight-point star, often in the form of an eight-petal rosette used in jewelry or metalwork decoration.  The Sumerians used an arrangement of lines as a symbol for both star and God. The linear eight-point star also represented the goddess Inanna, Sumerian queen of the heavens, and Ishtar (Astarte), the Babylonian goddess known as “The Lightbringer”. So what secrets are being protected by the Guardian(s) of the gates? Is there a communications link between heaven and earth in the heart of downtown Detroit?  Concluding our journey we arrive at Detroit’s “Point of Origin”, Campus Mars!

Campus Martius (Mars) – Detroit's Point Of Origin

Situated 3 blocks north of Hart Plaza, and 1 block north of the ‘Guardian’ is Detroit’s sacred Campus Martius.  After the fire of 1805, Campus Martius (from the Latin for Field of Mars, where Roman heroes walked) was the focal point of Judge Augustus Woodward's plans to rebuild the city. With the surveying instruments and astronomical devices on the summit of a huge stone, he viewed the planets and meteors in order to determine “true North”. Today we still call this point the “Point of Origin” which is located in the center of Campus Martius at the junction of Woodward and Monroe. It is from this point that the City of Detroit’s Coordinate system was created.   Since we are speculating on gateway and stargate symbolism, it is worth noting that in sci-fi depictions of stargates  a “Point of Origin” is essential as the spot of departure and return.  Campus Mars is Detroit’s Point of Origin!

The original park covered several acres and was a major gathering area for citizens. The park was lost in the 1900s as the city's downtown was reconfigured to accommodate increased vehicular traffic. Hart Plaza, along the riverfront, was designed to replace Campus Martius as a point of importance.    The ‘Spirt’ of Campus Mars had other things in mind.   In 2004 Campus Mars was rebuilt, dedicated and was brought into perfect alignment with the ‘Pylon’ just down the road at the en-trance to Hart Plaza.  Campus Mars is once again considered one of Detroit’s central gathering spots and by some to be, “The city’s symbolic place of rebirth.”

The first monument to capture attention at Campus Mars (Detroit’s Point of Origin) is the Soldiers & Sailors Monument. This incredible monument is one of the oldest pieces of public art in Detroit as well as one of America’s first Civil War Memorials. The monument was created by Randolph Rogers in 1867 and was dedicated in 1872. The monument is arranged as a four tiered octagonal pyramid or ziggurat.

Let’s recall, ziggurat’s can be seen symbolically as bonds between heaven and earth. Around the base are four screaming eagles with their wings spread wide. The Eagle represents spiritual protection, carries prayers, and brings strength, courage, wisdom, illumination of spirit, healing, creation, and a knowledge of magic. The eagle has an ability to see hidden spiritual truths, rising above the material to see the spiritual. The eagle has an ability to see the overall pattern, and is a connection to spirit guides and teachers. It represents great power and balance, dignity with grace, a connection with higher truths, intuition and a creative spirit grace achieved through knowledge and hard work. Above the guardian eagles stand four seven feet tall military men symbolic of Artillery, Cavalry, Infantry, and Navy. Between the military figures are bronze portraits of Farragut, Sherman, Grant and Lincoln. On the next tier up are four female figures symbolic of Victory, Union, History, and Emancipation. The female figures are holding or possibly placing halos (crowns or rings) above the heads (domes) of the soldiers. An allegorical representation of Michigan or Freedom stands tall atop the final tier of stars.

Investigative Mythologist William Henry describes ‘Freedom’ as, “wearing the spiritual garb of the Cosmic Freedom Fighters or ‘light warriors’.”   She wears her helmet of salvation, sprouting wings, pointing toward a celestial connection. Protected by her breast plate of righteousness she holds her shield of faith high! In her right hand she holds the sword of spirit ready to slice down tyranny and oppression.

Freedom is clad in her spiritual suit of armor and she stands guard over Stargate Detroit from a star-studded pedestal atop the Campus Mars pyramid. Standing proud she looks South down Woodward Ave towards Hart Plaza. Surely she’s contemplating ‘Transcending’ the Gateways to Freedom!  Beneath Freedom’s star studded throne is buried a time capsule.  Perhaps these “time capsules” are symbolic of a time of recognition of this sacred symbolism.

That time may be now!

The Unconscious Re-Emergence

Compuware Headquarters

In 2003 a new building emerged on the northern boundary of Campus Mars that would re-introduce the same symbolism that Augustus Woodward had once dreamt of. But this time the symbolism was most likely deposited not intentionally, but unconsciously, possibly even divinely! Compuware World Headquarters is located at One Campus Martius, in downtown Detroit, Michigan. Construction began in 2000, and was finished in 2003. It stands 18 floors high, 16 above-ground, and 2 below-ground, and has 1,000,000 square feet of office space.   The building was constructed in the late-modernist architectural style, using glass, granite, and limestone as its main materials.

Although Augustus Woodward’s street layout has changed over the years, the symbolism incorporated has re-emerged.  Recalling that Woodward may have incorporated the symbol of the pentagram in his street layout, Campus Mars would have been located directly in the heart of the pentagram. In sacred geometry the heart of a pentagram is actually a pentagon.  Today in  the same location that occupies what would have been the heart of the pentagram in Woodward’s initial street design, the Compuware Headquarters has emerged as a Pentagon!  Was this intentional? It is reported that this design was chosen to coordinate with the shape of the surrounding streets. That may be true but there are two rather significant factors that cannot go unnoticed:

• 1. The Compuware structure resurrects, in Detroit’s “Point of Origin” (Campus Mars) containing symbolism identical to Woodward’s initial symbolism.
• 2. Campus Mars is in perfect alignment & correlation to Hart Plaza and its impressive cosmic symbolism.

Detroit Map on Left (Campus Mars = Orange Pentagon); D.C on Right

Considering the re-emergence of Woodward’s initially intended symbolism, it almost appears as if the pentacle (stargate) is destined for the streets of Detroit. Peter Champoux has pointed out the shape that the Michigan Biome takes is that of a pentagram.  Scaling down to the city of Detroit, Augustus Woodward purposed to layout the city using identical symbolism. 200 years later Compuware Headquarters emerges containing pentagon symbolism, and surely driving on the pentagonal street layout around the pentagonal building there are Chrysler cars sporting hood ornaments with the Chrysler logo, the Pentastar.  Was this symbol destined for the streets of Detroit?

The pentagram or pentacle can be seen as representative of symbolism on both the earthly and heavenly plains.  As with most symbols it has taken on many personifications over the years.

One of the first known uses of the pentagram is found in Mesopotamian writings dating to about 3000 BC. The Sumerian pentagrams served as pictograms for the word "UB," meaning "corner, angle, nook; a small room, cavity, hole; pitfall,".   In the Babylonian context, the edges of the pentagram were probably orientations: forward, backward, left, right, and "above". These directions also had an astrological meaning, representing the five planets Jupiter, Mercury, Mars, Saturn, and Venus as the "Queen of Heaven" (Ishtar) above.   Here on the earthly realms the five pointed star can be symbolic of Humanity or the human body, representing two outstretched arms, two legs, and the head. It can also represent the five physical senses: sight, hearing, touch, smell, and taste. And “naturally” it can be symbolic of The five elements: spirit, fire, air, water, and earth.

In the heavenly realms the pentagram also takes on several personifications. To the Ancient Egyptians the pentacle was associated with star Sirius and was even used as part of its hieroglyph. To the Egyptians the star Sirius was in many cases venerated as the goddess Isis. Moving slightly closer to our “Point of Origin” (Earth), the pentagram can also be symbolic of the planet Venus. Approximately every eight years, & five inferior conjunctions of Venus repeat forming a pentagram when viewed from Earth, our “Point of Origin". The Earth sits in the middle of this pentagonal outline created by Venus.  A mind blowing scenario emerges when thinking in terms of “as above, so below” or drawing down the macrocosm to the microcosm. Not only does   the Earth’s “Point of Origin” occupy a pentagon within a pentagram in this scenario, but so does Detroit’s “Point of Origin”, Campus Mars!  As above, So below!

Since we have been discussing unconscious symbolism and “Point of Origins”, there is one more scenario to point out. As mentioned previously, in sci-fi stargate depictions you must have a “Point of Origin” to depart from and return to. In these depictions they use a specific symbol for the “Point of Origin” that resembles a partial triangle or pyramid with a hovering ring above it.  Coincidently this modern stargate symbol can be super imposed over Woodward’s 200 yr. old map of Detroit’s “Point of Origin” Campus Mars. And it fits!!!!  Were these symbols destined for the streets of Detroit?  Could this in part be unconscious symbolism?

Unconscious symbolism??  Augustus Woodward’s ancient map with the modern stargate symbol

Returning to Campus Mars, the symbol of the pentagon can also be symbolic of the planet Mars!  Not only is the Compuware Building itself shaped like a pentagon, but there is a glass pentagon pyramid directly in the heart of the pentagonal shaped building.   When first viewing the Images of this glass pyramid,  I was awed by the striking similarities it shares with another pyramid previously seen.   The D&M Pyramid, on Mars!  In the Cydonia region on Mars(the planet) there is a grouping of monuments that appear to be pyramids. These pyramids are accompanied by “The Face on Mars” we spoke of earlier (Noguchi).

One of the largest and most apparent of the pyramids on Mars is the pentagon-shaped D&M, as it’s been named.  Very striking  is the fact that the pentagonal D&M pyramid on Mars and the pentagonal shaped glass pyramid encased in a pentagon shaped building (in the heart of Woodward’s pentagram symbolism) at Campus Mars are almost identical!

The Face To Be Seen From Mars / The Face On MarsPyramid At Campus Mars / Pyramid On Mars

Recall visionary artist Isamu Noguchi who created Hart Plaza 3 blocks to the South of Campus Mars also had cosmic visions including Mars!  Not only did he correlate Hart Plaza to the Giza Plateau in the 70’s, but in 1947 he had a vision, and proposed to create a monument that was to be called “The Face To Ber Seen From Mars”!  Coincidently (or not) the architects of Campus Mars also brought into fruition Martian symbolism!  Could these artists and architects be unconsciously tapping into the cosmic energies that appear to be pulsing through Detroit?

So what is under the glass pyramid located at Detroit’s “Point of Origin” Campus Mars? The largest hanging water feature in the world! It gets better.  This “untitled” water feature consisting of multi-colored-kite like structures appears symbolically as a rainbow bridge.   The building's water feature was designed by WET Design, the same people who designed the fountains at the Bellagio and the Winter Olympic cauldron. It features fifteen glass "kites" and, at more than 14 stories tall, represents the largest indoor, hanging water feature in the world.

Symbolically speaking the “Rainbow Bridge” has been used time and again in ancient myth and lore to represent a bridge, or even a communications link, between the earthly realms and the heavenly realms (humanity and the gods).  The most celebrated rainbow bridge in Western mythology is Bifrost, which connects Earth with Asgard, home of the Norse gods.

A theory first coined by amateur etymologist Christopher Houmann, is that, in view of the common history of Indo-European peoples, the symbolic meaning of Asgård at the end of the rainbow might be connected to ancient knowledge of chakras and their colors.    Could it be that activating our inner rainbow bridges (chakras) here in the microcosm could be a catalyst for crossing the cosmic rainbow bridge into the macrocosm? Could this symbolism be pointing towards a time of both personal, collective, and even cosmic transformations?

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There is one very important detail that should be pointed out at this juncture in relation to one of the possible origins of the re-emerging symbolism at Campus Mars. Once again this symbolism may have seeped itʼs way into the streets of Detroit via our capital Washington D.C.. In the dome of the United States Capital Building is possibly the most important painting in American history, The Apotheosis of George Washington! Painted by the Italian painter Constanino Brumidi in 1865, the deified George Washington hovers in the dome of the capital on a Rainbow Bridge in a heavenly scene.

Photo Courtesy William Henry

Investigative Mythologist William Henry describes the fresco as depicting the first President of the United States, “Rising into the clouds in glory. Floating in the center of the painting, the deified Washington sits enthroned on a rainbow – the judgement seat of Heaven — in a circle or ʻgate of 72 stars.” And this is just at first glance!

What Dr. Mark Gray http://cosmicdoorways.net/CosmicDoorways/COSMIC_DOORWAYS.html and William Henry http://www.williamhenry.net/ reveal in their book Freedomʼs Gate (The Lost Symbols In The U.S. Capital) is nothing short of historical!  

What they uncovered was that Brumidi had encoded the “Apotheosis of George Washington” with sacred geometry amongst other symbolism. What Dr. Gray and Mr. Henry discovered is that when they began to connect the dots the shape of the pentagon as well as the pentacle appeared super imposed over the painting! The deified Father Of Our Country hovers on a rainbow bridge, in the heart of a pentacle, surrounded by a gate of 72 stars (stargate). In the fresco Washington is accompanied by ʻFreedomʼ among other gods and goddesses. ʻFreedomʼ actually joins George twice, once below him in the painting, and again perched tall atop the dome itself.

Together Washington and ʻFreedomʼ hover above a gold star below, this is Washington D.Cʼs “Point of Origin”! Why is this intentional symbolism incorporated in the U.S. Capital Building relevant? It is the same symbolism that has emerged unconsciously (for the most part) in the art and architecture at Detroitʼs “Point of Origin” Campus Mars! Symbolically there is a rainbow bridge (Bridge between the earthly and heavenly realms, humanity and the gods) that departs Detroitʼs “Point of Origin” through a glass pentagonal shaped pyramid (identical to a pyramid on Mars) from a pentagonal shaped building in a location that was once proposed to be in the heart of Woodwardʼs pentagram street layout! And out front Freedomʼ is suited up in her spiritual suit of armor atop a star studded ziggurat guarding the corridor between Campus Mars and Hart Plaza, Stargate Detroit!

Symbolically there is a rainbow bridge (Bridge between the earthly and heavenly realms, humanity and the gods) that departs Detroitʼs “Point of Origin” through a glass pentagonal shaped pyramid (identical to a pyramid on Mars) from a pentagonal shaped building in a location that was once proposed to be in the heart of Woodwardʼs pentagram street layout! And out front ʻFreedomʼ is suited up in her spiritual suit of armor atop a star studded ziggurat guarding the corridor between Campus Mars and Hart Plaza, Stargate Detroit!

At Campus Mars in the heart of an ancient pentacle, emerged Compuwareʼs Pentagonal building with a symbolic rainbow bridge under its pentagonal pyramid. In front of Compuware stands Freedom atop a star studded pedestal. This is Detroitʼs “Point of Origin”.

In The Capital dome Apotheosized George Washington Hovers in a heavenly seen perched atop a rainbow bridge in the heart of a pentacle. Below Washington, in a battle for cosmic freedom, is Freedom. She stands on a gate of 72 stars (S.G.)! Washington and Freedom look down towards a golden star below, This is Washington’s “Point of Origin (Photo courtesy William Henry)

In the streets of Stargate Detroit there have emerged dramatic representations of freemasonic, gateway, stargate, and astrological symbolism with the underlying themes of cosmic freedom and transcendence! In this two part article we visited Hart (heart) Plaza, a cosmic temple, a gateway civic center with a cosmic connection to the ancient Egyptian pyramids and the constellation of Orion. We then ventured North past ʻThe Spirit of Detroitʼ and stood in the shadows of the ʻGuardianʼ before arriving at Detroitʼs “Point of Origin” Campus Mars. In the courtyard of Campus Mars, ʻFreedomʼ stands proud upon her pyramid, dressed in her spiritual suit of armor, she stares back south toward Hart Plaza, contemplating ʻTranscendingʼ, the Gateways to Freedom, something we can all do!! Welcome to Stargate Detroit!!!

Stargate Detroit (Transcending The Gateways to Freedom)

Work of:
http://www.chadstuemke.com/our_works/chad_stuemke_detroit_sacred_symbols_urban_city_stargate/



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